Holy Sonnets: La Corona of Louise Talma: Selected Elements of

MOORE, LAURA MCDONALD, D.M.A. Holy Sonnets: La Corona of Louise Talma:

Selected Elements of Texture, Technique, and Text. (2008)

Directed by Dr. Welborn E. Young, 142 pp.

Louise Talma (1906-1996) was a respected American composer of the mid-

twentieth century with a substantial musical oeuvre in a variety of genres including

keyboard music, instrumental works for large and small ensembles, solo vocal and choral

works, and opera. While other compositions, most notably her piano works, have

received moderate attention in terms of scholarly discussion, performance, and

publication, her choral and vocal works remain virtually unexplored.

This document examines Talma’s seven-movement choral cycle Holy Sonnets: La

Corona, composed in 1954-55 on poetry of John Donne. This cycle was the first choral

work composed by Talma that incorporated serial techniques into her existing

neoclassical style. By studying selected elements of texture, serial technique, and text in

this work, scholars and performers can gain a greater understanding of her compositional

style, and be motivated to explore, study, and perform other choral works of Louise

Talma.

Chapter I presents the current state of research on Talma, her style and

compositions. A biography of Talma, a summary of her general compositional

characteristics, and information on the commissioning and composition of the choral

cycle La Corona are included in Chapter II. Chapter III provides a brief biography of

John Donne, with commentary on his literary style and particular emphasis on the

structure and language of the sonnet cycle “La Corona.” Chapter IV is an analysis of

selected examples of texture, serial technique, and text-setting in La Corona. Chapter V

discusses specific performance challenges found in the work.

Five appendices complete this study. Appendix A presents Holy Sonnets: La

Corona in an engraved edition which uses Sibelius music software and includes a piano

reduction and brief commentary on the editorial approach. Appendix B contains the text

of “La Corona” by John Donne. Reproductions of original tone row materials from the

Talma Collection at the Library of Congress are included in Appendix C. Appendix D

lists Louise Talma’s choral works in order by date, and provides title, date, text sources,

performing forces, publication information, and location and availability of holographic

materials. Appendix E is a letter from The MacDowell Colony granting permission to

use La Corona materials in this document.

HOLY SONNETS: LA CORONA OF LOUISE TALMA:

SELECTED ELEMENTS OF TEXTURE,

TECHNIQUE, AND TEXT

by

Laura McDonald Moore

A Dissertation Submitted to

the Faculty of The Graduate School at

The University of North Carolina at Greensboro

In Partial Fulfillment

of the Requirements of the Degree

Doctor of Musical Arts

Greensboro

2008

Approved by

Welborn E. Young____________________

Committee Chair

ii

To my sons Jonathan and Daniel.

For two years, you have patiently asked “How’s the dissertation going?”

I can finally reply, “It is done.”

iii

APPROVAL PAGE

This dissertation has been approved by the following committee of the Faculty of

The Graduate School at The University of North Carolina at Greensboro.

Committee Chair __________________________________

Welborn E. Young

Committee Members __________________________________

William P. Carroll

__________________________________

Eleanor F. McCrickard

__________________________________

Robert A. Wells

_____________________________

Date of Acceptance by Committee

_____________________________

Date of Final Oral Examination

iv

ACKNOWLEDGMENTS

I wish to thank the members of my committee who have provided guidance,

advice, and encouragement throughout my program of study at The University of North

Carolina at Greensboro. This degree would not be possible without the support and work

of Dr. Welborn E. Young, Dr. William P. Carroll, Dr. Eleanor F. McCrickard, and Dr.

Robert A. Wells. I continue to be grateful for their wealth of knowledge and experience,

in addition to their generosity of spirit.

I am indebted to Sarah Dorsey, the Music Librarian at The University of North

Carolina at Greensboro, for suggesting the topic of Louise Talma’s choral works as

worthy of study. My deep appreciation goes to Braxton Sherouse for technical expertise

and endless patience.

I thank Professor Scott Ferguson and Professor Meg Miner at Illinois Wesleyan

University for taking the time to answer questions and do archival research regarding the

Choral Commission Series at that institution. I am also grateful to The MacDowell

Colony for granting permission to use materials from the Louise Talma Collection at the

Library of Congress in this document.

v

TABLE OF CONTENTS

Page

CHAPTER

I. INTRODUCTION AND PURPOSE . . . . . . . . . . . . . . . . . . . . . . . 1

II. A BRIEF STUDY OF TALMA’S LIFE AND MUSICAL STYLE:

A BACKGROUND TO LA CORONA . . . . . . . . . . . . . . . . . . . . . 9

Louise Talma: A Life Devoted to Music. . . . . . . . . . . . . . . . . . 9

General Stylistic Characteristics: Evolution with Integrity. . . . . . . . . 15

La Corona: Conception and Composition . . . . . . . . . . . . . . . . . 19

III. JOHN DONNE AND THE LANGUAGE

OF METAPHYSICAL POETRY . . . . . . . . . . . . . . . . . . . . . . . 23

John Donne: Poet and Preacher . . . . . . . . . . . . . . . . . . . . . . . 23

Donne – Language and Style . . . . . . . . . . . . . . . . . . . . . . . . 28

“Holy Sonnets: La Corona” . . . . . . . . . . . . . . . . . . . . . . . . . 32

IV. AN ANALYSIS OF SELECTED TEXTURAL, SERIAL,

AND TEXTUAL ELEMENTS IN LA CORONA , . . . . . . . . . . . . . . 38

Textural Elements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Selected Serial Elements. . . . . . . . . . . . . . . . . . . . . . . . . . 53

Textual Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

V. PERFORMANCE CHALLENGES FOR LA CORONA . . . . . . . . . . . . 74

VI. CONCLUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

APPENDIX A: HOLY SONNETS: LA CORONA OF LOUISE TALMA. . . . . . . . . 88

Comments on Editorial Approach . . . . . . . . . . . . . . . . . . . . 88

Holy Sonnets: La Corona . . . . . . . . . . . . . . . . . . . . . . . . . 90

APPENDIX B: JOHN DONNE – “HOLY SONNETS: LA CORONA” . . . . . . . . 128

vi

APPENDIX C: TONE ROW MATERIALS FROM THE

TALMA COLLECTION AT THE LIBRARY OF CONGRESS . . . . . .132

Reproduction of Original Tone Row Sheets . . . . . . . . . . . . . . . . .133

List of Rows Used in Each Movement of La Corona . . . . . . . . . . . .135

APPENDIX D: CHORAL WORKS OF LOUISE TALMA. . . . . . . . . . . . . . .136

Choral Works of Louise Talma: Compositional Data . . . . . . . . . . . .137

Choral Works of Louise Talma: Publication and Manuscript Data . . . . .140

APPENDIX E: PERMISSION LETTER - THE MACDOWELL COLONY. . . . . . .142

1

CHAPTER I

INTRODUCTION AND PURPOSE

Louise Juliette Talma (1906-1996) was a respected American composer of the

twentieth century with a substantial musical oeuvre in a variety of genres including

keyboard music, instrumental works for large and small ensembles, solo vocal and choral

works. In recognition of her work, she garnered several important awards during her

lifetime. She was the first woman to receive two Guggenheim Fellowships in

composition, winning this prestigious prize in 1946 and again in 1947. Talma received

the Sibelius Medal for Composition in 1963, the first female composer to do so. She was

also the first woman composer elected to the National Institute of Arts and Letters, in

1974.1 She had studied with Nadia Boulanger at Fontainebleau in the 1920s and 1930s,

and later became the first American invited to teach there. 2 In addition to her vocal,

choral, and instrumental works, Talma composed an opera, The Alcestiad (1962), with a

libretto by Thornton Wilder. This was the first work by an American woman to be

produced by a major European opera company. Yet only in the last twenty years has

research on the life and work of Louise Talma begun to emerge in dissertations and

1 Christine Ammer, Unsung: A History of Women in American Music (Westport, CT: Greenwood

Press, 1980), 157. Arthur Cohn’s article “Louise Talma,” in New Grove Online, contains an error, stating

that Talma’s election to the National Institute of Arts and Letters occurred in 1963. This author has

confirmed on the website of the American Academy of Arts and Letters (merged with the National Institute

of Arts and Letters in 1976) that Talma became a member in 1974. http://www.artsandletter.org (accessed

May 31, 2008).

2 Ammer, 157.

2

articles. Carole Harris, in her 2002 dissertation tracing the influence of Stravinsky

through Boulanger to selected American composers, sums up the nascent state of

research by stating that “while Talma’s works are less well known [than Copland’s or

Piston’s], her contributions to American music most likely have been underestimated and

are worthy of further investigation.”3

Louise Talma wrote choral pieces throughout her career, beginning in 1929 and

continuing to the last choral work written in 1992. In Modern Music Makers, Madeleine

Goss states that “Louise Talma began her career as a composer by writing songs. Choral

music still remains her favorite medium.”4 While Talma subsequently told Carol Teicher

in an interview that she has no favorite medium, it is clear that choral and vocal works

form an integral part of her oeuvre.5 Arthur Cohn, in his article “Louise Talma” found on

Grove Music Online, lists seventeen separate choral titles, including an oratorio and

multiple choral cycles. These choral works cover a wide range of voice combinations,

including those for two-part women and piano, double mixed chorus, to soloists, mixed

chorus and orchestra. 6 Minimal work has been done to analyze this choral output or to

present it in performing editions for modern choirs.

3 Carole Jean Harris, “The French Connection: The Neoclassical Influence of Stravinsky, Through

Boulanger, on the Music of Copland, Talma and Piston” (Ph.D. diss., State University of New York at

Buffalo, 2002), 171.

4 Madeleine Goss, Modern Music Makers (Westport, CT: Greenwood Press, 1952), 383.

5 “The Solo Works for Piano of Louise Talma” (D.M.A. diss., Peabody Institute of the Johns

Hopkins University, 1983), 22.

6 “Louise Talma,” Grove Music Online, ed. L. Macy, http:www.grovemusic.com (accessed 29

May 2008).

3

In “Stylistic Tendencies and Structural Design in the Music of Louise Talma,”

LuAnn Dragone focuses on the style and structure of Talma’s works through what she

defines as three compositional periods.7 Both Harris and Dragone, however, utilize non-

choral works as the basis of their analysis and evaluation. Harris analyzes Talma’s First

Piano Sonata, and Dragone examines six works (two from each period) including a solo

song, a piano sonata, and chamber works for string quartet and other small instrumental

ensembles. Four other dissertations written between 1983 and 1998 address the piano

works of Louise Talma, with only passing reference to the choral works as part of her

total compositional production.8

Few of Talma’s choral works were ever published. In its master indexes of 1996,

the year of Talma’s death, Choral Music in Print listed only three items available, all for

women’s voices and piano: “Celebration,” “Carmina Mariana,” and “In Paraise [sic] of a

Virtuous Woman.”9 One additional piece, The Tolling Bell (for baritone soloist, mixed

chorus and orchestra), currently appears on the Music in Print database.10

Lawson-Gould

Music Publishers produced an engraved score with piano reduction of the choral cycle A

7 (Ph.D. diss., City University of New York, 2003), 6.

8 Helen J. McClendon-Rose, “The Piano Sonatas of Louise Talma: A Stylistic Analysis” (D.M.A.

diss., The University of Southern Mississippi, 1992); Yumiko Oshima-Ryan, “American Eclecticism: Solo

Piano Works of Louise Talma” (D.M.A. diss., University of Cincinnati, 1993); Eunice W. Stackhouse, “A

Survey of the Solo Piano Compositions of Louise Talma, Composed from 1943 to 1984” (D.M.A. Lecture-

Recital, University of Kansas, 1995); Susan Teicher, “The Solo Works for Piano of Louise Talma,”

(D.M.A. diss., Peabody Institute of the Johns Hopkins University, 1983).

9 Sacred Choral Music in Print Master Index (Philadelphia: Musicdata, Inc., 1996), 244.

[“Celebration”] Secular Choral Music in Print Master Index (Phildadelphia: Musicdata Inc., 1996), 190.

[“Carmina Mariana”; “In Paraise of a Virtuous Woman”]

10

Emusicquest [accessed Feb. 6, 2008], <http://www.emusicinprint.com/emusicinprint.lasso>

4

Wreath of Blessings (for a cappella SATB choir) in 1991, but the work is now out of

print.

Few recordings of Talma’s choral works were ever issued. A recording was made

of the La Corona cycle by the Dorian Chorale in 1964. The first movement of this

recording, “La Corona,” was also included in a compilation of recorded music

accompanying James Briscoe’s Historical Anthology of Music by Women.11

Two

commercial recordings containing selected choral works of Talma are available at this

time, both recorded by the Gregg Smith Singers. The first features only one piece of

Talma’s music, “Carmina Mariana.”12

The second recording, I Hear America Singing,

contains multiple choral works of William Schuman, Ned Rorem, and Talma.13

As a genre well represented in the musical output of a composer who was widely

respected by her teachers and peers, Talma’s choral works deserve further examination.

Study can shed additional light on elements of her compositional technique and how she

combined these various techniques, as well as her approach to setting text. Additional

research can also develop performance opportunities for works that may have been

neglected.

11

La Corona Holy Sonnets by John Donne (1954-55), Dorian Chorale, conducted by Harold Aks,

Composers Recordings r64-762, audiocassette, 1964. Historical Anthology of Music by Women, disk 2, CD,

compiled by James Briscoe (Bloomington, IN: Indiana University Press, 1997).

12

20th

Century Choral Music in Space!, Gregg Smith Singers, Newport Classic, NPD85674, CD,

2006.

13

I Hear America Singing [choral music of Schuman, Rorem, and Talma]. The Gregg Smith

Singers, Vox Music Group, CD3X3037, CD, 1996. The recording includes the following Talma works: A

Wreath of Blessings, Voices of Peace, “The Leaden Echo and the Golden Echo,” Holy Sonnets: La

Corona, and Let’s Touch the Sky.

5

This document examines the choral cycle Holy Sonnets: La Corona (1954-5),

written for a cappella mixed choir on a commission from the Illinois Wesleyan

University Collegiate Choir. La Corona is of special interest in Talma’s choral oeuvre,

as it is the first of her choral works to incorporate serial techniques into her earlier

neoclassical style. Since Louise Talma is perhaps not a familiar composer to many

modern musicians, an understanding of her musical background is essential to a study of

her music. Chapter II contains a biography of Talma and a basic summary of her stylistic

characteristics, as well as information on the commission and composition of the choral

cycle La Corona. A discussion of the life, works, and poetic language of John Donne

comprises Chapter III. Donne, one of the major metaphysical poets of the English

Renaissance, wrote the poetic cycle “Holy Sonnets: La Corona,” and the structure of the

poetry is integral to the musical structure of Talma’s choral setting.

Chapter IV of this document addresses selected textural, serial, and textual

elements within the seven movements of Holy Sonnets: La Corona. Examples of key

structural and textural characteristics in La Corona include instances of block formal

structure, clarity of texture, precision of rhythm, and balance of phrases. Talma’s use of

changes in choral texture is also examined. These shifts in choral texture frequently

illumine sections of the text and provide structural and dramatic interest.

The second section of Chapter IV examines Talma’s use of selected serial

techniques in La Corona, and ways in which these techniques complement the existing

characteristics of structure and texture. Serial elements are omnipresent through the

cycle; examples will illustrate selected forms in which Talma utilizes this technique. The

6

analysis of these elements can help conductors and singers approach performance of this

work in a knowledgeable manner. Chapter IV concludes with a discussion of Talma’s

text-setting in the choral cycle.

Several of the difficulties in preparing and performing La Corona are discussed in

Chapter V. The challenge of learning the individual vocal lines is amplified by the

presence of serial elements. Other specific difficulties include tessitura, tuning and

balance, and syllabic stress.

Several appendices to this document contain further material to help in

understanding and performing this choral cycle. The one existing score of Holy Sonnets:

La Corona is a 1964 bound photocopy of the original manuscript.14

Because this work is

currently available only as a copy of the open-score manuscript, this author has created

an engraved performing edition, included as Appendix A, with a piano reduction for

rehearsal accompaniment and editorial notes. Appendix B contains the poetic text of the

sonnet cycle of John Donne, for greater ease in observing elements of poetic structure,

paradox, and metaphor. Appendix C contains reproductions of Talma’s original

compositional materials. These include the tone rows she generated to use throughout the

cycle. This material, along with the original manuscript, is contained in The Louise

Talma Collection in the Music Division of the Library of Congress. Portions of this

material are reproduced to provide additional insight into the composer’s musical intent.15

14

The score is also included in James Briscoe, ed. Historical Anthology of Music by Women.

Bloomington, IN: Indiana University Press, 1987. Talma granted Briscoe permission to reproduce La

Corona from the original manuscript as part of this anthology.

15

Sarah Dorsey, the Music Librarian at the University of North Carolina at Greensboro, created a

Finding Aid for the Louise Talma Collection in the spring of 2006. The Finding Aid has not been

7

Information for Talma’s choral works is included as Appendix D to this

document. This appendix includes titles, dates, text sources, performance forces, and

publication information or manuscript location. The choral works which have not been

published, including La Corona, are property of The MacDowell Colony, to whom

Talma assigned her estate. Appendix E is a letter from The MacDowell Colony granting

permission to use Talma’s music and original materials in the preparation of this

document and engraved edition of the work.

Because of the serial techniques present in La Corona, it is perhaps one of the

most difficult of Talma’s choral works to study, prepare, or perform. This challenge may

be ameliorated somewhat by the information on Talma’s compositional techniques,

analysis, and examples provided in this document. The engraved edition of La Corona,

with the assistance of a keyboard reduction, offers greater ease in performance

preparation because of the clarity of the score and consistency of editorial techniques.

On a larger scale, however, the knowledge gained by a study of Louise Talma’s musical

background, stylistic integrity, and approach to text and structure, can bring a new

appreciation and understanding to any of her choral pieces, which occupy such an

important place in her body of work.

While some of Talma’s other compositions, most notably her piano works, have


publication, her choral and vocal works remain virtually unexplored. This document is

published, nor is it available yet online; however, a bibliographic description of the Louise Talma

Collection can be found at <http://lcweb2.loc.gov/diglib/ihas/loc.natlib.scdb.200033664/default.html> The

Talma Collection, containing scores by Talma and other composers, letters, programs, clippings, and

photographs, has not yet been catalogued.

8

the first to approach Talma’s choral works with a discussion of La Corona, a key work

which combines her earlier compositional style with serial techniques. It also includes

the first discussion of Talma’s approach to setting text. For the music scholar, Appendix

D of this document provides basic information about all of Talma’s choral works,

including the location of primary materials for additional research. There is also

important information to benefit the choral musician. The inclusion of a performance

edition of La Corona, which combines Talma’s detailed markings with the clarity of

modern editing, assists conductors and choral singers to prepare and perform the work.

The chapter outlining specific performance challenges in this work would also be

applicable to later choral works written by Talma. It is this author’s hope that the

material presented here will pique the interest of choral scholars and performers and

encourage further study of Holy Sonnets: La Corona, or any of the other choral works of

Louise Talma.

9

CHAPTER II

A BRIEF STUDY OF TALMA’S LIFE AND MUSICAL STYLE:

A BACKGROUND TO LA CORONA

Louise Talma: A Life Devoted to Music

Louise Talma came to a career in music through the blessing of good musical

genes, a supportive environment, and thorough training. She was born in Arcachon,

France, to American parents on October 31, 1906. Both of her parents were professional

musicians who were performing in France at the time of her birth. Alma Cecile Garrigue,

as her mother was known professionally, was an opera singer who had appeared at the

Metropolitan Opera as well as opera houses in Europe. Louise’s father, Frederick Talma,

was a classical pianist and opera coach. Most biographical information on Talma states

that her father passed away while she was very young. However, Sarah Dorsey found a

draft of a letter from Talma to Nadia Boulanger, implying that the father had left the

family right after Louise’s birth, a fact that Talma did not find out from her mother until

she was about twelve years old.16

Louise Talma was raised single-handedly by her

mother, who provided her a thorough musical background. Talma and her mother

continued to live in France until 1914, at which time they moved to New York City.

16

Sarah Dorsey and Anna Neal, “Sarah, Anna and Louise – What No Thelma? Discovering

Louise Talma and Her Shorter Piano Works,” Music Reference Services Quarterly 10, no. 2 (2006): 37.

10

Mrs. Talma gave Louise her first lessons in piano and solfège. By the time

Louise was ten years old, she was an accomplished pianist, playing solo works of

Schubert, Schumann, and Mozart, and accompanying her mother.17

They even had a

rather charming method of practicing languages, speaking French, German, and Italian to

each other at specific times.18

Because Mrs. Talma also wanted her daughter to benefit

from exposure to great performances of classical music, she worked as a ghost-writer for

a music critic, earning free concert and opera tickets in return for writing the reviews.19

In addition to hearing many musical performances with her mother, Louise actively

pursued classical music training. Between 1922 and 1930, she attended the Institute of

Musical Art in New York [later the Juilliard School] where she studied theory,

composition, counterpoint, and fugue. She won first prize in the National Federation of

Music Clubs’ piano competition in 1927.

Talma’s first polished compositions, vocal works and small piano pieces, were

written towards the end of this initial period of study. Two of her earliest works were

choral settings, proof that she felt comfortable writing vocal and choral music even at the

beginning of her career. Talma wrote Three Madrigals and “La Belle Dame Sans Merci”

in 1929-30 on a commission from the Women’s University Glee Club in Manhattan,

conducted by Gerald Reynolds.20

17

Dorsey, 37.

18

Goss, 383.

19

Jane Weiner LePage, Women Composers, Conductors, and Musicians of the Twentieth Century:

Selected Biographies (Metuchen, NJ: Scarecrow Press, 1980), 226.

20

Ammer, 158.

11

In the summer of 1926, Louise Talma and her mother both attended the American

Conservatory at Fontainebleau where Louise pursued advanced piano studies with Isidor

Philipp. She returned to Fontainebleau in the summer of 1927 for additional piano

lessons. Talma added composition studies with Nadia Boulanger during the summer of

1928 and then studied in subsequent summers with both Philipp and Boulanger until

1935 at which time Boulanger encouraged her to focus solely on composition.21

Talma

continued to study every summer through 1939, and intermittently after that.22

During

the 1930s, Talma became the first American to teach at Fontainebleu, instructing students

in solfège. Later, in the summers of 1978, 1981, and 1982, she taught solfège, analysis,

and harmony.23

Nadia Boulanger did not influence Louise Talma solely in the areas of

composition and pedagogy, or in providing early opportunities to teach. She also played

a great role in shaping her student’s religious convictions. Talma was born into a

Protestant family but was a practicing atheist when she first went to study at

Fontainebleau. However, after hearing Boulanger “during a lecture, list the professions

in order of their importance with ‘priest’ in first place,” Talma spent three years studying

religion intensively on her own.24

She converted to Catholicism at the age of twenty-

eight, and Boulanger served as her godmother, creating another link between the two

21

Harris, 56.

22

Harris, 56. Talma continued summer studies at Fontainebleau in 1949, 1951, 1961, 1968, 1971,

1972, and 1976.

23

Susan Teicher, “Louise Talma: Essentials of Her Style As Seen Through the Piano Works,” in

The Musical Woman: An International Perspective, vol. 1, ed. Judith Lang Zaimont (Westport, CT:

Greenwood Press, 1984), 130.

24

Teicher, The Musical Woman, 130.

12

women.25

Talma saw this faith reflected practically in her creative work. She believed in

the dignity of work and in stressing the quality of accomplishment and execution. She

once said that “a well-scrubbed floor is better praise of the Lord than an ill-made

symphony.”26

Her spiritual faith is also visible in her many musical settings of Biblical

or religious texts.

Talma began teaching music education and music theory at Hunter College in

New York City in 1928. Because she was required to have an earned degree in order to

remain part of the Hunter College faculty, Talma continued her formal music studies,

receiving a Bachelor of Music degree in 1931 from New York University and the Master

of Arts degree in 1933 from Columbia University. While she took the time to pursue her

own music studies and travel to Fontainebleau, she also had to support her mother, who

was ill with Parkinson’s disease. Her devotion to her invalid mother, who died in 1942,

postponed the full realization of her gift for composition. In an interview in 1986, Talma

indulged in a little self-deprecating humor: “I was almost 40 before I launched an

independent career . . . most composers are dead by that time.”27

The death of her mother freed Talma to live a more independent life, but it also

removed a major guiding force. The ongoing fighting in World War II prevented her

from traveling to Fontainebleau for support from Nadia Boulanger, her other key role

model both musically and personally. It was at this time that Talma’s teacher at

25

Teicher, “The Solo Works for Piano,” 9.

26

Goss, 388.

27

Beth Mularczyk, “43 Seasons at MacDowell Colony Foster an Eminent Body of Work: A

Conversation with Composer Louise Talma,” Peterborough Transcript (August 7, 1986): 1; quoted in

Dorsey, 38.

13

Columbia University, Marian Bauer, suggested that she apply for a residency at the

MacDowell Colony.28

Founded in 1907 by the widow of composer Edward MacDowell,

it is the oldest artist’s colony in the United States.

Beginning in 1943 and continuing for over forty years, Louise Talma enjoyed a

series of frequent residencies at the MacDowell Colony in Peterborough, New

Hampshire. Most of her works were composed in this setting, which Talma herself

described as an “artists’ retreat where they give you everything you need to live and work

for five dollars a day.”29

It was at the MacDowell Colony that Talma became associated

with a group of composers from the Boston area, which included Lukas Foss, Arthur

Berger, and Irving Fine. Aaron Copland wrote of this group as a “Stravinsky school”

since most of these composers had studied with Nadia Boulanger and had absorbed

Stravinsky’s neoclassical style through her teaching. 30

Arthur Berger later added Louise

Talma, among others, to this list.

Talma completed her teaching career at Hunter College in 1979, having served on

the faculty for fifty-one years. After reaching mandatory retirement age at the college,

she stayed on without pay.31

She taught solfège, harmony, and counterpoint, but

ironically never taught composition. She claimed that it was only the craft of

composition that could be taught in classes; once students got to the point of using their

28

Dorsey, 39.

29


30

Arthur Berger, “Stravinsky and the Younger Composers,” Score no. 12 (June 1955): 41; quoted

in Dorsey.

31

Ammer, 158.

14

imaginations, a teacher could merely offer opinions.32

Hunter College awarded Talma an

honorary doctorate in 1983. She also authored two books on music theory: Harmony for

the College Student (1966) and Functional Harmony (1971).33

Even toward the end of her life, Talma continued to be active as a composer. She

died on August 13, 1996, at Yaddo, an artists’ colony near Saratoga Springs, New York.

She was in the midst of completing The Lengthening Shadows, a set of songs for voice

and chamber group accompaniment, when she passed away.34

Talma’s music was received well by the critics, and organizations such as

academic institutions, professional performing groups, or music foundations

commissioned many of her works. In addition to her commission for La Corona, she

received other requests for vocal and choral works. The Koussevitsky Music Foundation

awarded Talma a commission in 1959, which resulted in the cantata All the Days of My

Life for tenor and chamber group, and the Gregg Smith Singers commissioned another

choral cycle, A Wreath of Blessings, in 1985.35

While repeat performances of her music

may be more infrequent than her critical reception may have indicated, it is clear from her

teaching, accomplishments, and honors that Louise Talma was a highly regarded member

of the musical community in the middle of the twentieth century. A portion of the

citation at her 1974 induction into the National Institute of Arts and Letters reads: “Many

32


33

Cohn, New Grove Online (accessed May 29, 2008). James Harrison, Robert Levin, and Louise

Talma, Functional Harmony (Purchase, NY: State University of New York at Purchase, 1971).

34

Dragone, 3.

35

Ammer, 160.

15

of her admirers, who had grown accustomed to seeing or hearing her referred to as one of

our foremost women composers, have noticed with pleasure in recent years that she is

being referred to more and more often without any qualification at all as one of our

foremost composers.”36

General Stylistic Characteristics:

Evolution with Integrity

Chapter IV of this document contains detailed analysis of selected aspects of

Louise Talma’s compositional style as they are manifested in Holy Sonnets: La Corona.

However, an understanding of the primary tenets of her musical thought and how her

style evolved can be gleaned from the existing literature, and this knowledge can be

helpful in understanding the compositional techniques and textures brought to bear in her

choral cycle La Corona.

The few existing biographies and theoretical analyses of Talma’s compositional

style make it clear that this style was intimately bound up in her experiences at

Fontainebleu and her study with Nadia Boulanger.37

In her teaching, Boulanger

“employed highly specific ideas about what constituted the important elements of music

in all ages. For example, she argued that ‘it is not necessary to hear rhythms, nor

harmonies, nor melodies in the vertical sense, it is necessary to hear in the horizontal

36


37

Stackhouse, 4.

16

sense, in the linear sense, because music is made of phrases.’”38

This influence is

strongly felt in Talma’s music, most notably in the general texture of her works. Her

music is “usually light, open, uncluttered, almost Spartan. The music is predominantly

contrapuntal, and is never excessive, lush, or out of control.”39

Boulanger also transmitted to her students several key compositional

characteristics of Igor Stravinsky, a composer she greatly admired. These characteristics

included clarity of line, precise rhythms, a sense of balance and proportion, and the use of

block structure. In describing the use of block structure, Teicher says that “while

Talma’s music is largely polyphonic and motivically inspired, it is basically

undevelopmental; ideas follow one another or alternate, often for the purpose of mutual

contrast.”40

This process of pitting short sections of music against one another for

contrast instead of continuous development was one of Stravinsky’s stylistic trademarks.

Dragone points out that the neoclassical influence is further seen in Talma’s short

melodies, which follow “the French stylistic reaction to what are perceived as the long,

shapeless, and aimlessly meandering melodies of the Romantic period.”41

Strongly

influenced by Boulanger’s passionate espousal of counterpoint and Igor Stravinsky’s

neoclassical style, many of Talma’s compositions reflect the ideals of linear construction,

38

Nadia Boulanger, “La Musique moderne,” Le Monde Musical (February 1926), 61; quoted in

Harris, 13.

39


40


41

Dragone, 6.

17

clear textures, and classical forms. This style of writing was prevalent in Talma’s

compositions from 1928 until the early 1950s.

In 1952, perhaps influenced by her admiration for the serial String Quartet of her

friend and composer Irving Fine, Talma turned to incorporating serial techniques into her

compositional style.42

The 1950s was the decade in which Stravinsky, a great role model

for Talma, also began exploring a serial approach. Like Stravinsky, Talma utilized

serialism within an eclectic compositional style. In a 1982 interview with Susan Teicher,

Talma said, “I like to use serialism as a tool and to incorporate it with the other modes in

music. I see no reason for chopping off what has developed simply because something

new has come along. I believe in using all the tools available.”43

In fact, in most of her

serial works, tonal implications are virtually omnipresent. In a bow to the science of

sound, Talma stated that “‘one can not cut oneself off from the past and dismiss the

whole lower level of the overtone series, because in doing so one denies the very nature

of sound.’ . . . Talma’s music has always retained the tonal principles expressed in the

overtone series, that is, the priority of the intervals of the fifth and the third.”44

This desire to retain tonal principles is evident in much of Talma’s music written

after the 1950s. Quite often the rows she constructs as the bases of her compositions

include implicit tonal relationships in the form of perfect fourths and fifths, and major

and minor thirds within the set. Triadic and quartal harmonies appear most often at

cadential points, deriving from serial manipulation. Many of these ending triadic

42

Ammer, 159.

43


44


18

harmonies have an added dissonant note, most frequently a major second. These chords

serve no functional harmonic purpose but continue her earlier neotonal language that is

now combined with serial elements.

Talma’s music is “conservative in that she uses instruments in their conventional,

acoustical manner [and] expects strict adherence to the printed score.”45

While this quote

in its original context referred to Talma’s piano works, it is also applicable to her choral

music. For example, even though the tessitura in La Corona may be strenuous at times,

and the singers have to be extremely agile in negotiating movement between pitches,

vocal production itself remains conventional.

One of the ways in which Talma’s music reflects her personal integrity and work

ethic is her insistence that performers follow all indications given in the score.

Talma is unfailingly meticulous and uncompromising about what she puts down on

paper, including detailed instructions for dynamic markings, pedaling, fingerings,

and tempo indications. The printed musical score is the final word, and those who

perform her music should respect and heed what they see. She never alters the music

once she has finished it. ‘I never look back,’ she says. ‘It is inexplicable to me that

great composers went back to old pieces and revised them.’46

While such careful direction from the composer can be helpful to contemporary

performers, it could also potentially squelch individual performance choices, especially

as Talma’s music contains no elements of unconventional notation or performance.

45

Teicher, “Solo Works for Piano,” 29.

46


19

La Corona:

Conception and Composition

Louise Talma composed La Corona in response to a commission from the Illinois

Wesleyan University Collegiate Choir, conducted by Lloyd Pfautsch and Donald Aird.

Pfautsch had begun this series of commissions at the University in 1952 with several

purposes in mind: to encourage young, unknown American composers to write choral

settings; to enlarge the choral repertoire; and to provide exploration of new techniques

and a variety of styles.47

These commissioned works were then performed by the

University Collegiate Choir during its annual spring choir tour. La Corona was the

commission for the 1955 tour.

Talma has stated that this was the first choral work in which she used serial

techniques.48

She also credits Donald Aird with suggesting the cycle of sonnets by John

Donne as the textual basis of the composition. Talma said of the poetry,

I was drawn to this set of sonnets for structural reasons, because the last line of

each sonnet becomes the first line of the next one. This makes for an interesting

circular music form in which the music of the last line of each sonnet is used, with

rhythmic changes, as the opening music of the next one, with the last line of the

last sonnet begin the first line of the first one, thus making a circle, a crown, as

Donne states in his title.49

47

David Rayl, “The Illinois Wesleyan University Choral Commission Series (1952-95): Trends in

American Choral Music,” Choral Journal 35, no. 9 (April, 1995): 22.

48

Watson Bosler, Liner notes to “I Hear America Singing,” The Gregg Smith Singers (Vox Music

Group, CD3X3037, CD, 1996), 14.

49

Bosler, 14.

20

According to David Rayl’s article on the Illinois Wesleyan University’s Choral

Commission Series, Talma’s work was the most difficult piece commissioned during

Pfautsch’s tenure from 1952 to 1958.50

Even though the music was difficult to learn and

perform, the piece was remarkably well-received by the choir’s audiences. In a letter to

Ulysses Kay, the composer commissioned to write the 1956 choral work, Pfautsch wrote,

“The Talma was a special surprise, for each audience reacted very favorably in spite of

her idiom, which one would expect audiences to find difficult.”51

Interestingly, the

original program for the choir tour indicates that only three movements of the cycle were

performed. The choir performed “Nativitie,” “Crucifying,” and “Ascention,” which are

the third, fifth and seventh movements of the cycle.52

It is ironic that the first audiences

experienced neither the poetic nor musical structure that used the final line of one sonnet

as the first line of the following sonnet, a structure which had delighted and inspired

Talma in her composition.

The Illinois Wesleyan Collegiate Choir may never have intended to perform the

full set of seven sonnets on its spring tour. The complete cycle is approximately nineteen

to twenty minutes long, based on the tempo markings provided by Talma for each

movement. Also, two of the movements were not completed until after the spring tour of

1955. In her usual meticulous way, Talma noted at the bottom of each sonnet movement

when and where the final draft of the composition was completed. Example 1 shows the

50

Rayl, 26.

51

Rayl, 26.

52

“Music for the Lenten Season [1955],” Record Group 7-3/2/16, Tate Archives and Special

Collections, The Ames Library, Illinois Wesleyan University, Bloomington, IL.

21

dates and location of each movement’s composition, and the approximate length of the

movements. The movements written in Peterborough, NH, were written while Talma

was in residence at The MacDowell Colony.

Table 1: Dates and Locations of La Corona Composition by Movement

Movement

Dates of Composition

Location of

Composition

Approximate

Duration

La Corona

September 14 – 27, 1954

New York City, NY

4’ 30”

Annunciation

August 11 – 22, 1954

Peterborough, NH

3’ 5”

Nativitie

August 12 – 31, 1954

Peterborough, NH

2’ 40”

Temple

June 14 – 27, 1955

Peterborough, NH

2’ 25”

Crucifying

September 1 – 4, 1954

Peterborough, NH

2’ 30”

Resurrection

June 29 – July 6, 1955

Peterborough, NH

1’ 35”

Ascention

September 6 – 14, 1954

Peterborough and

New York City

2’ 15”

Two live performances of Talma’s complete La Corona cycle are documented in

the available literature. The Gregg Smith Singers along with the Florilegium Chamber

Choir performed La Corona at St. Peter’s Church in New York City on January 12, 1985.

According to The Musical Woman: An International Perspective, this was a premiere of

the work.53

The full cycle, however, had been presented in an earlier performance by the

Dorian Chorale, conducted by Harold Aks, on November 19, 1964 at Queens College in

53

Judith Lang Zaimont, Catherine Overhauser and Jane Gottlieb, eds., vol. 2 (Westport, CT:

Greenwood Press, 1987), 22. This volume contains performance information for works by women

composers during 1984-1985. Works performed are listed individually by composer, and include the dates

and locations of those performances.

22

New York City. 54

This performance resulted in the Composers Recording mentioned in

the introduction to this document. The difficulty of learning and performing serial music,

combined with a complex text and lack of performance edition other than the composer’s

manuscript, has perhaps limited further live performances of Talma’s La Corona.

54

Bosler, 13.

23

CHAPTER III

JOHN DONNE AND THE LANGUAGE

OF METAPHYSICAL POETRY

Yet because I thought, that as in the Poole of Bethsaida, there was no health till the

Water was troubled, so the best way to find the truith in this matter was to debate and

vexe it.

John Donne, Preface to “Biathanatos” (1608)55

This quote by John Donne draws the reader into the language of the seventeenth-

century metaphysical writers, of which Donne was the chief proponent. These were

poets who blended emotional and intellectual arguments in complex ways, most often

using direct language and the juxtaposition of apparently disconnected things in order to

force the reader to be fully engaged in the subject.56

In order to understand the literary

qualities of this poetic movement, and their manifestations in Holy Sonnets: La Corona in

particular, it is important to know something of the life and writing style of John Donne.

John Donne – Poet and Preacher

John Donne was born into a prosperous middle-class family in London in 1572.

While both of his parents were Roman Catholic, his status as a Catholic “aristocrat” came

from his mother’s side of the family. They were descendants of Sir Thomas More, the

55

The Complete Poetry and Selected Prose of John Donne, ed. Charles Coffin (New York:

Random House, Inc., 2001), 318-319.

56

“Metaphysical Poet,” Encyclopædia Britannica Online, 2008, http://search.eb.com/eb/article-

9052291 (accessed June 2, 2008).

24

Lord Chancellor during the reign of Henry VIII who was martyred in 1535 for his

Catholic faith.57

Because of the difficulty inherent in being an openly practicing Roman

Catholic family during the reign of the fiercely Protestant Queen Elizabeth I, Donne was

tutored privately until the age of eleven, at which time he matriculated at Oxford

University. He studied for three years at Oxford and then continued his education at

Cambridge. He took no degree from either university because as a Catholic he could not

swear the required oath of allegiance to the Queen. What Donne’s experience did

provide, especially at Oxford, were lifelong friendships with a wide circle of people who

would later become his patrons and supporters at court and in the Church.58

After

university, Donne probably traveled in Spain, Belgium, and Italy and then returned to

London to read law from 1591 to 1594. In 1594, perhaps prompted by the death of his

younger brother Henry, who was in prison for harboring a Catholic priest, Donne began

to make a comparative study of the Roman Catholic and Protestant theologies.59

In 1597

he took a job in public service, which makes it probable that he had converted to the

Anglican Church by this time.60

In 1601, when he secretly married Anne More, a

nobleman’s daughter and the niece of his employer, all possibilities of remaining in

public service ended. For the next ten years Donne and his growing family lived in

poverty while depending on the charity of extended family and noble patrons. Donne

57

Jonathan Post, “Donne’s Life: A Sketch,” in The Cambridge Companion to John Donne, ed.

Achsah Guibbory (Cambridge: Cambridge University Press, 2006), 1.

58

Post, 3.

59

Post, 8.

60

Patricia Garland Pinka, “John Donne,” Encyclopædia Britannica Online, 2008,

http://search.eb.com/eb/article-9030933 (accessed June 2, 2008).

25

continued to study and to write prolifically, including prose works on theology and canon

law, and poetry focusing on the topics of love and religion. While friends encouraged

Donne to consider work in the Church of England, he “felt unworthy and continued to

seek secular employment.”61

By 1615 Donne finally came to believe that he did indeed have a religious

vocation and took holy orders, being ordained a deacon and priest. Although James I had

absolutely refused Donne’s many earlier attempts to obtain a post at court, the king was

happy to install him as the dean of St. Paul’s Cathedral in 1621. His time as an ordained

priest played out against a backdrop of personal tragedy and illness. His wife died in

1617 after giving birth to a stillborn child, and Donne’s health also suffered with long

episodes of typhus in 1623 and stomach cancer in 1630-31. These travails focused him

fully on his vocation in the Church and also led to some of the most elegantly developed

theological works in prose and poetry, as found in his devotional meditations and

sermons.62

Donne remembered his wife and honored his vocation in these first lines from

Holy Sonnet XVII:

Since she whom I lov’d hath payd her last debt

To Nature, and to hers, and my good is dead,

And her Soule early into heaven ravished,

Wholly on heavenly things my mind is sett.63

61

Pinka.

62

Post, 17.

63

John Donne, “Holy Sonnet XVII,” The Complete Poetry and Selected Prose of John Donne,

265.

26

Although John Donne is known to modern readers primarily as a poet, it was as a

preacher that he reached his highest fame during his lifetime and for his sermons that he

expected to be remembered. After he was ordained into the Church of England in 1615,

Donne began to concentrate more of his intellectual and literary skills on sermons rather

than poetic forms. Donne was able to negotiate the sometimes tricky accomplishment of

crafting sermons that were by their nature pieces written for specific occasions while still

conveying his very personal experience with God, faith, and religion. The elements of

spiritual anxiety and uncertainty found in his earlier poetry continued to be a hallmark of

his religious prose. Through the power and eloquence of his many sermons, including

ones delivered at the courts of James I and Charles I, Donne secured the reputation as the

foremost preacher in England.64

John Donne died on March 31, 1631. Although few of his works were published

during his lifetime, they were preserved and circulated in manuscript copies among his

admirers. While his Poems were fairly popular immediately after his death, having been

published eight times within the seventeenth century, Donne’s style was not to the taste

of the eighteenth-century public. While some literary figures of the nineteenth century

appreciated Donne’s work, most notably Robert Browning, it was not until the early part

of the twentieth century that Donne’s poetry encountered an incredible revival. T. S.

Eliot, in particular, who was intrigued by the work of Donne and his contemporaries,

wrote an essay in 1921 titled “The Metaphysical Poets” in which he praised Donne as a

64

Pinka.

27

poet of “unified sensibility,” combining thought and emotion.65

The extremely warm

reception of the earlier poet’s work in the 1930s and 1940s was partially attributable to

this essay and the growing interest in Donne as a precursor of modern intellectual

literature.

Amid the large catalog of Donne’s poetry and prose works stand the Holy

Sonnets, sometimes referred to as the Divine Poems: poetry that dealt with universal

matters of spirituality and a relationship with God, yet were written mostly in a very

personal and intimate manner and language. The cycle of seven La Corona sonnets were

the earliest works in this group of poems, written around 1607. While Donne’s poetry can

be difficult to date correctly, since very little of it was published during his life, scholars

such as A. C. Partridge believe that most of the remaining nineteen Holy Sonnets were

written before his wife’s death in 1617.66

They therefore stand as the “product of

Donne’s middle period, years of uncertainty and ill-health, when his pride and ambition

for Court place had been humbled.”67

And even though these poems explore the poet’s

love for God, they also reflect doubts, fears, and a lack of spiritual peace. In these

poems the reader finds the dichotomy between Donne’s deep faith and the deep sense of

unworthiness that had originally kept him from pursuing a career in the Church.

65

Dayton Haskin, “Donne’s Afterlife,” The Cambridge Companion to John Donne, ed. Achsah

Guibbory (Cambridge: Cambridge University Press, 2006), 242.

66

A. C. Partridge, John Donne: Language and Style (London: André Deutsch, 1978), 128.

67

Partridge, 127.

28

Donne – Language and Style

One of the primary identifying elements of seventeenth-century metaphysical

poetry is the use of the conceit, “an extended metaphor that draws an ingenious parallel

between apparently dissimilar situations or objects.”68

The metaphor or comparison was

then subject to intense reasoning and transformed into an argument for multiple, and

sometimes even contradictory, feelings or ideas. Continuing in the time-honored

tradition of the independent Reformation thinkers, “perhaps Donne’s greatest

contribution to aesthetic speculation in the English Renaissance was the baroque

assimilation of thought to feeling, coupled with the semantic teasing of words, still a

logical priority in the rational process of theologians.”69

The writings of the metaphysical

poets were a blend of emotion and intellectualism, a debate between the soul and the

body. T. S. Eliot’s 1921 essay “The Metaphysical Poets” argued that these works were

unique because earlier and later poets were unable to achieve that fusion of thought and

feeling, thereby creating works that were either intellectual or emotional but not both at

the same time.70

In Donne’s time, however, the term “metaphysical” was used as a

pejorative description of that poetic approach to a topic, with critics claiming that the

apparently disconnected ideas of the conceit were subject to “violent yoking together” in

68

Pinka.

69

Partridge, 11.

70

“Metaphysical Poet.”

29

order to jolt readers out of complacency and force them to be engaged and immersed in

the argument of the poem.71

Other elements of Donne’s poetry that were perhaps startling to his readers

include vocabulary and syntax that owed more to the dramatic spoken language of the

Shakespearean stage than to the smooth meter and mellifluous words of contemporary

lyric poets such as Philip Sidney and Edmund Spenser. There is directness of language,

emotional intensity, and a sometimes shocking sense of drama within even the most

devout of poems.72

The last nine lines of Holy Sonnet XIV, as seen in Example 1, present the

comparison of a soul to a town that has been captured by the enemy. Donne pleads to be

released from that captivity and bound instead in a relationship with God. In lines five

through eight of this sonnet, the conceit or comparison of the soul with the captured town

is shown in vocabulary choices like “usurpt,” “defend,” and “viceroy.” In contrast to the

militaristic language in the situation of the captured soul, readers would expect peaceful

or gentle words at the end of the sonnet, reflecting the shift to a different metaphorical

structure. Ironically, the language Donne uses in the last four lines to describe his desired

relationship with God is not peaceful or gentle, but almost urgent and violent [emphasis

by this author].

71

“Metaphysical Poet.”

72

Pinka.

30

Example 1: John Donne, Holy Sonnet XIV, lines 5-14.73

I, like an usurpt towne, to’another due,

Labour to’admit you, but Oh, to no end,

Reason your viceroy in mee, mee should defend,

But is captiv’d, and proves weake or untrue.

Yet dearely’I love you,’and would be loved faine,

But am betroth’d unto your enemie:

Divorce mee,’untie, or breake that knot againe,

Take mee to you, imprison mee, for I

Except you’enthrall mee, never shall be free,

Nor ever chast, except you ravish mee.

This sense of ironic language is joined by the frequent use of paradox, not only in

contrasting images but in punning plays on the English language itself. Donne’s

conspicuous use of paradox to develop his arguments will be discussed directly in the

context of La Corona later in this chapter.

The sense of urgency is increased in this poem, as well as in many others by John

Donne, by an extreme emphasis on personal pronouns and by using present tense and

imperative forms of verbs.74

Lines of equal metrical length can feel interrupted and

stretched by the use of monosyllables, or fluid and contracted with words that maintain

flow through the use of secondary stresses. This is illustrated in Example 2 by two lines

from the Holy Sonnet VII, which begins with “At the round earth’s imagin’d corners.”

While both of the excerpted lines have ten syllables, the pacing of the lines, as indicated

by syllabic stress markings, could not be more different:

73

John Donne, “Holy Sonnet XIV,” The Complete Poetry and Selected Prose of John Donne, 264.

74

Helen Gardner, “The Religious Poetry of John Donne,” John Donne: A Collection of Critical

Essays, ed. Helen Gardner (Englewood Cliffs, NJ: Prentice-Hall, Inc., 1962), 131.

31

Example 2: John Donne, Holy Sonnet VII, line 3 and line 6.75

“From d!eath, you n!umberlesse inf !inities” [line 3]

“A!ll whom w!arre, d!earth, a!ge, a!gues, t!yrannies” [line 6]

In Donne’s poetry, his use of natural speech stress often runs counter to metrical

expectations, creating the feeling of asymmetrical lines and thus avoiding monotonous

cadences. In his use of punctuation, however, Donne does not hew to the use of

breathing stops that would occur in the rhythm of natural speech. Rather, he uses

punctuation for syntactic clarity. A. C. Partridge states that “the stopping of Donne is

meticulous, to the point of superfluity.”76

Example 3 presents the first two quartets of

Holy Sonnet X to illustrate the use of punctuation to clarify the syntax, and therefore the

logic, of the poetic argument:

Example 3: John Donne, Holy Sonnet X, lines 1-8.77

Death be not proud, though some have called thee

Mighty and dreadfull, for, thou art not soe,

For, those, whom thou think’st, thou dost overthrow,

Die not, poor death, nor yet canst thou kill mee.

From rest and sleepe, which but thy pictures bee,

Much pleasure, then from thee, much more must flow,

And soonest our best men with thee doe goe,

Rest of their bones, and soules deliverie.

The fourteen-line sonnet form in which Donne wrote was different than that of his

English predecessors or contemporaries. Spenser, Sidney, and others of the time tended

75

John Donne, “Holy Sonnet VII,” The Complete Poetry and Selected Prose of John Donne, 261.

76

30.

77

John Donne, “Holy Sonnet X,” The Complete Poetry and Selected Prose of John Donne, 262.

32

to structure their sonnets as an octet and a sestet, further divided into two quartets and

two tercets. Donne preferred the use of a final couplet rounding out three quartets.78

The

great measure of his skill is that the couplet was not separated in thought from the earlier

part of the poem, thus avoiding the impression of an epilogue or concluding moral. His

usual rhyme scheme was abbaabbacdcdee, but he was also flexible with this poetic

construct.79

In Holy Sonnets: La Corona, for example, Donne uses the above rhyme

scheme in the second, fourth, sixth, and seventh poems. In the first, third, and fifth

sonnets, he shifts the rhyme scheme of the third quartet slightly to match the previous two

quartets, creating a rhyme scheme of abbaabbacddcee. This deliberate shift of rhyme

patterns becomes part of the structure of the poetic cycle itself.

“Holy Sonnets: La Corona”

These two parts of our devotion, Prayer and Praise . . . not onely consist together, but

constitute one another . . . As that Prayer [the Lord’s Prayer] consists of seven

petitions, and seven is infinite, so by being at first begun with glory and

acknowledgement of his raigning in heaven, and then shut up in the same manner,

with acclamations of power and glory, it is made a circle of praise, and a circle is

infinite too. The Prayer, and the Praise, is equally infinite.

John Donne, Sermons, V, 270-27180

78

Partridge, 130.

79

Partridge, 130.

80

John Donne, Complete Poetry and Major Prose, ed. Merritt Y. Hughes (New York: Odyssey

Press, 1957). Quoted in A. B. Chambers, “La Corona: Philosophic, Sacred, and Poetic Uses of Time,” in

New Essays on Donne, ed. Gary Stringer. Salzburg Studies in English Literature: Elizabethan and

Renaissance Studies, ed. James Hogg (Salzburg: Institut für Englische Sprache und Literatur, 1977), 168.

33

This quote, taken from the Sermons of the poet John Donne, beautifully illustrates

the infinite circularity of the qualities of prayer and praise, qualities also lifted up

poetically in his sonnet cycle La Corona. This cycle of seven sonnets also illustrates

many of the stylistic characteristics of Donne’s writing, as well as an unusual poetic

construct which reinforces the cycle’s circular quality.

The intriguing circular structure of La Corona derives from Donne’s use of the

last line of each sonnet as the first line of the following sonnet. The last line of the

seventh and final sonnet is also the first line of the first sonnet. Thus each poem is

related to the sonnets which precede and follow it. La Corona becomes an endless circle

of prayer and praise, and “a circle, as Donne was fond of observing, is a ‘convenient

hieroglyph for God’ because it has no beginning nor end.”81

Thus each individual sonnet

explores theological and liturgical concepts, but the structure of the cycle as a whole also

represents the divine.

Even as Donne will sometimes shift rhyme schemes in his poetry for variety, so

he also manipulates the transitional device of the repeated line in La Corona from sonnet

to sonnet. Something as subtle as a shift in grammatical function of a word or words in

the repeated line can open up a different perspective in the sonnet in which they’re

repeated. In Example 4, which illustrates the shared line between “Crucifying” and

“Resurrection,” the words “my dry soule” shift from being the object of the poetic phrase

to the subject. This technique provides an additional venue for Donne to vary the

81

Chambers, 167.

34

metrical and syntactical flow of his poetic lines, while maintaining his overall poetic

construct.

Example 4: “Crucifying,” lines 12-14; “Resurrection,” lines 1-482

Now thou art lifted up, draw mee to thee,

And at thy death giving such liberall dole,

Moyst, with one drop of thy blood, my dry soule.

Moyst with one drop of thy blood, my dry soule

Shall, (though she now be in extreme degree

Too stony hard, and yet too fleshly,) bee

Freed by that drop, from being starv’d, hard, or foule,

While the later Holy Sonnets take a more personal, even conversational, tone, the

cycle La Corona maintains a formal language that is more in keeping with the liturgical

nature of the poetry. In a study of the cycle, Margaret Maurer states that “in ‘La Corona’

Donne considers the relationship between God’s will to save his soul and his own will to

perform acts of devotion. Reflecting on this problem is a spiritual exercise that requires

the most delicate balance between his own exertion and trust in God.”83

A. B. Chambers

maintains that Donne states the liturgical nature of the cycle in the very first poetic line of

the first sonnet, “Deigne at my hands this crown of prayer and praise,” and continues

through the seven sonnets, evoking scenes from the life of Christ which duplicate in their

simplicity the nature of the liturgical year.84

The first sonnet, “La Corona,” serves as an

introduction to the cycle, and is followed by “Annunciation,” “Nativitie,” “Temple,”

82

Donne, ed. Coffin, 244.

83

“The Circular Argument of Donne’s ‘La Corona,’” Studies in English Literature, 1500-1900 22,

no. 1 (winter 1982): 59.

84

Chambers, 160.

35

“Crucifying,” “Resurrection,” and “Ascention.” Ruth Gardner points out another link to

existing liturgy, noting that “the first sonnet of the set is a weaving together of phrases

from the Advent Offices in the Breviary, and that the second draws on the Hours of the

Blessed Virgin . . . [Donne’s] ‘crowne of prayer and praise’ was to be woven from the

prayers and praises of the Church.”85

Among the key events in the Christian liturgical

year, it is perhaps interesting that Donne chose to include the scene of the child Jesus

teaching the elders in the temple at Jerusalem in his cycle. This scene, however, in which

Jesus makes the comment that he has to about his father’s business, can be understood to

be Jesus’ first miracle.86

Donne utilizes the shared poetic line between sonnets to mark shifts between

moments of prayer and praise, both vital in the liturgy. Example 5 illustrates the use of

the line “Salute the last, and everlasting day” as part of a prayer in “Resurrection,” giving

way to the initiation of praise in “Ascention.”87

This change from prayer to praise is also

mirrored in the grammatical shift from using “salute” as part of a compound verb to an

imperative command.

While the liturgical purpose of La Corona seems rather lofty, and the overall

circular nature and sonnet form may imply a degree of formality and structure, Donne’s

language in the seven poems is strong and direct, metrically fluid, and full of paradox and

puns. The use of paradoxical statements is nowhere in greater evidence than in

85

Gardner, 124.

86

Chambers, 161.

87

The archaic spellings of “Nativitie” and “Ascention” found in Donne’s cycle are retained

throughout this document, and are also used by Louise Talma in her musical setting.

36

Example 5: “Resurrection,” lines 12-14, “Ascention,” lines 1-488

May then sinnes sleep, and deaths soone from me passe,

That wak’t from both, I againe risen may

Salute the last, and everlasting day.

Salute the last and everlasting day,

Joy at the uprising of this Sune, and Sonne,

Yee whose just teares, or tribulation

Have purely washt, or burnt your drossie clay;

the second poem “Annunciation,” in which God’s incarnation as man is itself a paradox.

Lines 3 and 4 of the poem, shown in Example 6, refer to Jesus. Example 7 contains the

last four lines of the poem, in reference to the Virgin Mary.

Example 6: “Annunciation,” lines 3-489

Which cannot sinne, and yet all sinnes must beare,

Which cannot die, yet cannot chuse but die

Example 7: “Annunciation,” lines 10-1490

Whom thou conceiv’st, conceiv’d; yea thou art now

Thy Makers maker, and thy Fathers mother;

Thou’hast light in darke; and shutst in little roome,

Immensity cloistered in thy deare wombe.

The final poem, “Ascention,” contains a wonderful use of paradox combined with

a pun. Donne contrasts the images of Jesus as a powerful ram and a sacrificial lamb. In

88


89


90


37

addition, he creates a pun between the ram as an animal and a battering ram. Example 8

contains the two lines in which all this linguistic play is present.

Example 8: “Ascention,” lines 9-1091

O strong Ramme, which hast batter’d heaven for mee,

Mild Lambe, which with thy blood, hast mark’d the path;

In John Donne’s poetry, the simplicity and strength of individual words are

juxtaposed against dialectical arguments and linguistic complexities. Several modern

composers have been drawn into setting his rich language. The feeling for syllable and

rhythm found in Donne’s poems has inspired solo vocal settings by Douglas Moore, Lee

Hoiby, John Tavener, Ross Lee Finney, John Eaton, and Benjamin Britten. Choral

settings of Donne’s sonnets include “At the Round Earth’s Imagin’d Corners” by

Williametta Spencer, and Stephen Paulus’ inclusion of “Nativitie,” out of the cycle La

Corona, in his Christmas cantata.92

Louise Talma, in her setting Holy Sonnets: La

Corona, derives musical inspiration from the structure of the poetic cycle as well as the

language, as will be seen in examples in the following chapters.

91


92

Douglas Moore, “Three Sonnets of John Donne” for high voice and piano, in “Romantic

American Art Songs,” Schirmer, 1990; Lee Hoiby, “Go and Catch a Falling Star” for high voice and piano,

Boosey and Hawkes, 1965; Lee Hoiby, “The Message,” in “Lee Hoiby: Thirteen Songs for High Voice and

Piano,” Schirmer, 1990; John Tavener, “Three Holy Sonnets: for Baritone and Chamber Ensemble,”

Chester Music, 1962; Ross Lee Finney, “Three Love Songs, to Words byJohn Donne” for high voice and

piano, Valley Music Press, 1957; John Eaton, “Holy Sonnets of John Donne: Song Cycle for Dramatic

Soprano and Piano [or Orchestra],” Shawnee Press, 1960; Benjamin Britten, “The Holy Sonnets of John

Donne, Op. 35” for high voice and piano, Boosey and Hawkes, 1946; Williametta Spencer, “At the Round

Earth’s Imagin’d Corners,” Shawnee Press, 1968; Stephen Paulus, “So Hallow’d is the Time: A Christmas

Cantata,” for boy soprano, soprano, tenor and baritone soloists, mixed choir and orchestra, [piano-vocal

score] European American Music Company, 1981.

38

CHAPTER IV

AN ANALYSIS OF SELECTED TEXTURAL, SERIAL, AND

TEXTUAL ELEMENTS IN LA CORONA

In 1954-1955, the years in which Talma composed La Corona, she was in the

process of assimilating the techniques of serialism into her existing style. Characteristics

of her earlier works are clear texture and structure, short melodic phrases, a focus on

balance and proportion, and counterpoint, which combine to create a style strongly

influenced by her study with Nadia Boulanger.93

This style is reflected in the definition

of neoclassicism in the New Grove Dictionary as a movement “in the works of certain

20th

-century composers, who . . . revived the balanced forms and clearly perceptible

thematic processes of earlier styles.”94

While the term neoclassicism can be notably

imprecise in the abstract, specific compositional elements found in works of a given

composer could be described as neoclassical. This author describes Talma’s music as

neoclassical primarily in terms of structure and texture. Neoclassical elements found

throughout the seven movements of La Corona include clarity of texture, precisely

articulated rhythms, and clear-cut divisions between phrases. In addition, variations in

texture help to delineate formal structure, especially in choral works which in Talma’s

writing tend to be through-composed.

93

Teicher, “The Musical Woman,” 128.

94

Arnold Whittall, “Neo-classicism,” in The New Grove Dictionary of Music and Musicians, 2nd

ed., ed. Stanley Sadie, (London: Macmillan Publishers Limited, 2001), 17:753.

39

LuAnn Dragone describes the timeframe around the composition of La Corona as

part of Talma’s middle period, and states that “certain structural elements throughout the

second-period compositions remain consistent. First, Talma’s concept of drama and

temporal flow, and the techniques she employs to generate effects such as texture and

rhythmic elements, displays a strong likeness to all of her compositions.”95

While her

approach to structure and texture remained a strong and continuous element of her style,

the use of serial techniques was still new to Talma, and the integration of the two

compositional techniques is not always comfortable or successful in this choral cycle.

One of Talma’s stylistic mentors, Igor Stravinsky, went through a similar process

of mixing influences. Stravinsky also began coming to terms with selected aspects of

serial practice in his musical composition during the early part of the 1950s. Of his

mature works after this period, Jeremy Noble wrote “that such a variety of textures and

techniques is juxtaposed with no sense of incongruity is sufficient indication of the extent

to which he had already succeeded in making over serial procedures to his own long-

established musical purposes.”96

The successful blending of these techniques later in

Talma’s career, after she created more compositions utilizing the approaches of

neoclassicism and serialism, would also be more effortless and effective.

In addition to selected examples of texture and structure, serial elements will also

be explored in La Corona. Talma’s use of serial technique is not strict in this work,

written early in the period in which she began to combine neoclassical and serial

95

Dragone, 208.

96

“Igor Stravinsky,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie,

(London: MacMillan Publishers Limited, 1980), 18:260.

40

techniques. Talma described her use of twelve-tone technique by saying “a set to me is

like a painter’s palette. He deliberately chooses a certain set of colors. He makes a

selection and then that is the basic stuff from which he makes his picture . . . the ultimate

result may have little resemblance to the original.”97

Examples from La Corona will

explore how Talma used serial technique to complement her existing focus on structure,

texture, and linear construction. Further examples will show how she supported implicit

tonal, if non-functional, relationships at cadential points by careful design and

manipulation of her original row. The knowledge that these compositional elements are

a continuation of Talma’s development as a composer, combining existing techniques on

her musical palette, enhances the study of these elements in Holy Sonnets: La Corona.

The final section of this chapter addresses textual elements found in La Corona.

Talma is able, even with the confines of a neoclassical structure and serial melodic

demands, to give specific words and phrases musical elaboration. Some of these textural,

serial, and textual elements overlap. For example, Talma uses multiple voices entering

on different row transpositions to create an impression of imitative entrances. She uses

changes in texture or rows to highlight specific text. And above all, Talma enjoys the

opportunity to match musically the poetic construct in which the same line ends one

sonnet and begins the next sonnet.

97

Teicher, “Solo Works,” 41.

41

Textural Elements

A discussion of the neoclassical aspect of Louise Talma’s style finds the greatest

relevance in her development of musical structure and use of texture. Juxtaposition of

varying texture creates this sense of block structure in La Corona. In this choral cycle,

which is through-composed, the sense of contrast of different sections is strengthened

because the changes of texture usually coincide with changes in poetic line. There is also

the frequent use of imitation, and a preponderance of syllabic text setting, resulting in

clarity of texture. Example 9, taken from the first movement “La Corona,” shows clearly

the block structure deriving from changes in texture. The phrase in section A features

paired voices, section B contains slightly offset entrances in three voices, section C is a

full four-voiced homorhythmic passage, and section D returns to a softer dynamic with

clear imitative entrances in the lower three voices. A singer or conductor could

determine the phrasal structure simply by a cursory visual glance at the page because the

shifts in texture are so clear.

The third movement “Nativitie” contains similar block structure created by

textural differences. A portion of the movement is illustrated in Example 10. Unlike the

varied texture seen in the first movement, this movement is most consistent in having

sections start in a disjunct or imitative fashion and coalesce into the cadence of each

42

Example 9: “La Corona,” (mvt. 1), mm. 24-40

Printed by permission of The MacDowell Colony.

© 2008 The MacDowell Colony

All subsequent examples from Holy Sonnets: La Corona are also used by permission.

43

Example 10: “Nativitie,” (mvt. 3), mm. 28-43

44

phrase. As Dragone says in her dissertation:

Talma’s works are predominantly polyphonic, thin-textured compositions that

make extensive use of contrapuntal techniques. Imitation, a common technique in

almost all of the choral compositions, is often found in the instrumental works to

increase dramatic intensity. This effect is generally created with an increase of

rhythmic activity which together raises the intensity. Increases and decreases of

density generally signal the approach to and return from a climactic point, as

Talma’s climaxes are generally a result of textural events.98

While Dragone’s comment is aimed toward instrumental textures, the description

of imitative entrances and layering of texture to increase intensity also applies to Talma’s

choral works. The increase in dramatic intensity and rhythmic density found in each

phrase of Example 10 seems climactic in nature. While each phrase does begin

imitatively and end together, differences in dynamic, voicings, and the rate of

coalescence create variety, as seen in phrases A, B, and C.

The most obvious structural element in La Corona is the shared musical line

between movements, reflecting the circular structure of Donne’s original sonnet cycle.

Possibilities for variety and variation in this device were what originally drew Talma to

setting this cycle. Example 11 shows the final measures of “Temple,” the fourth

movement in the cycle, with the soprano melody marked to indicate the musical line

shared with the fifth movement. The transition between these two movements is the most

obvious example of the shared poetic line set to music. This is made clear in Example

12, which shows the almost identical melodic shape of the soprano line in the ending

measures of “Temple” and the beginning measures of movement five, “Crucifying.”

98

Dragone, 13.

45

Example 11: “Temple,” (mvt. 4), mm. 36-38

Example 12: “Temple,” (mvt. 4), mm. 36-38 and “Crucifying,” (mvt. 5), mm. 1-3

While the soprano lines are identical in pitch contour and almost identical in

rhythmic contour, Talma creates a completely different setting for that melodic line at the

beginning of “Crucifying.” The melody appears in strong parallel octaves, shown in

46

Example 13. This octave texture was set up in the last measure of the previous

movement (Example 11, m. 38), and remains prevalent throughout this movement.

Example 13: “Crucifying,” (mvt. 5), mm. 1-2

While the musical transition from movement four “Temple” to movement five

“Crucifying” is clear, other shared musical lines, such as the shift from movement two

“Annunciation” to movement three “Nativitie,” are not as well-defined. At the end of

“Annunciation,” the shared phrase is placed in the soprano voice (Example 14, bracket

A), but the melody is clouded in a four-part texture with differing rhythms in the other

three parts. Bracket B shows a small coda section leading to the final chord. The

repetition of the last few words of the poetic line in all the voices is unusual and

contributes to the feeling of coda.

Example 15 shows the beginning of movement three, “Nativitie,” in which the

soprano “melody” from the previous movement is transferred to a solo bass line. While

47

Example 14: “Annunciation,” (mvt. 2), mm. 54-60

the melodic contour remains the same, the shift in tessitura, texture, and rhythm creates a

different atmosphere while using identical text. The text is also offset, with a one-

syllable delay on “thy deare womb.” While the soprano line in movement two

“Annunciation” ended with “womb” on the first leap of a sixth (Example 14, end of

bracket A), Talma places the word “deare” on the interval of the sixth in the bass line in

movement three. The bass finally does move a sixth into “wombe,” but by then other

voices have entered and obscured that melodic movement. Because of this delay, the

bass version of this shared line feels much less cadential as it leads into “Nativitie.”

48


The most interesting shared line compositionally is also the one that would be

almost impossible for an audience to perceive, as it is the one between the last movement

and the first movement. Example 16 shows the final measures of the last movement,

“Ascention.” This section promotes the liturgical element of praise, and the final

measures reflect that focus by using a full dynamic, broad allargando tempo, completely

homorhythmic texture, and a final chord containing the widest range envelope of the

entire choral cycle.

In the first phrase of the first movement, “La Corona,” Talma uses the same

pitches as the previous example. The opening phrase is shown in Example 17. The two

settings of the shared poetic and musical line are juxtaposed on the next page. However,

the line “Deigne at my hands this crown of prayer and praise” is presented within a more

subdued context of prayer in the first movement, a change which is reflected musically in

the texture of staggered entrances and narrower aggregate pitch range. While the pitches

49

Example 16: “Ascention,” (mvt. 7), mm. 56-62


50

are the same as the previous example, the tessitura, especially in the soprano line, is

lower. Example 17 is also a prime illustration of distributed text, in which each voice

presents a discrete portion of text, in this case one word each, so that the entire poetic line

is present only through the participation of all four voices. This transparency of texture

also contributes to the subdued quality of the first movement.

Two other examples of distributed text are found in La Corona, both in

“Nativitie.” This technique is not frequently used, as Talma’s use of imitative texture

usually has all the participating voices presenting the full line of text. Example 18 shows

the most interesting appearance of distributed text, which has an almost conversational

quality. The texts “for thee” and “for him” are divided between the alto and tenor lines in

Example 18, setting the syntactical separation found in Donne’s sonnet, and illustrating

the poetic shift in focus from the soul to the historical story of Jesus’ birth. In bracket B',

the altos repeat “for thee,” bringing the focus of the question back to the soul, and

bringing a more personal tone to the musical setting. While the ultimate effect of this

example of distributed text is to highlight the text, it is accomplished through shifts in

voicings and changes in texture.

The clarity of choral texture that one ascribes to Talma’s compositions derives to

a great extent from her syllabic setting of text. The vast majority of the text in La Corona

is set as one note per syllable. The melismatic passages shown in Example 19 are unique

in the work. The phrases indicated by brackets are the only occasions in which a single

syllable is set to more than three notes. The soprano voice in measure 46 has the

identical melodic shape as the melisma in measure 41 but begins one step lower. This

51


sequential character is also typical of the neoclassical techniques in Talma’s work. The

single appearance of melismatic writing in “Annunciation” illustrates a textual point in

addition to being a unique example of texture. Measure 41 sets the stressed syllable of

the word “conceiv’d.” In using this melismatic setting, unique to the cycle, in three

voices at this point, Talma highlights the importance of this word to the mystery of the

incarnation of Christ. The later soprano melisma in measure 46 also draws attention to

the paradoxical description of Mary as “thy Makers maker and thy Father’s mother.” By

also setting the word “Father” melismatically, Talma draws attention from the incarnate

humanity of Christ back to the divinity of God. Yet because of the sequential passage,

the two theological concepts are related musically.

52


The major neoclassical elements of La Corona are structure and texture, several

examples of which have been discussed. Talma explores the structural nature of Donne’s

poetry by setting musically the shared poetic lines between Donne’s sonnets. The phrasal

structure of each of the seven movements is clear because of the changes in texture used

for individual phrases. Talma frequently shifts between imitative entrances, paired

voices, solo lines, and homorhythmic phrases, and the juxtaposition of these differing

textures delineates small and large-scale structure. Deliberate manipulation of texture,

53

whether by the use of offset entrances with distributed text or by the unique instance of

melismatic writing in a work of otherwise syllabic text-setting, also reflects musical or

emotional expression of the text. In the next section of this chapter, discussion of

Talma’s use of selected serial technique will also highlight the creation of textural

changes through serial manipulation.

Selected Serial Elements

Talma’s serial works employ a number of procedures that include: 1) a frequent

partial presentation of the row in its first appearance as a quasi-introduction; 2)

repetition of notes before completion of the entire row; 3) a presentation of the row

that includes octave repetitions, as well as note doublings at the unison or octave in

other voices; and 4) numerous partial or incomplete presentations of the row. In

many respects Talma’s twelve-tone rows behave like cantus firmi whose appearance

is sometimes found in one of the voices but is not always present.99

The choral cycle La Corona is built upon a single row that Talma uses in its original

form and various manipulated forms, including inversion, retrograde, retrograde

inversion, and transposition.100

The work includes examples of some of the serial

approaches described in the quote above, in addition to linear row aggregates and vertical

pitch manipulations. However, La Corona is also an early example of Talma’s

combination of serialism and neoclassical writing, and the music includes serial events

intended to create such techniques as ostinato, imitation, and sequence. Many of the

cadences in the cycle are non-functional but do contain neotonal implications. Talma has

99

Dragone, 118.

100

Appendix C contains pages on which Talma wrote out the original, inversion, retrograde, and

retrograde inversion forms of this row transposed to each pitch. These sheets are reproduced from Talma’s

original pages in the Library of Congress collection.

54

very carefully set up her row, shown in Example 20, so that certain combinations of

pitches in the row will provide these tonal centers. The most frequent type of neotonal

chord is the major chord with added second, which is seen throughout the cycle. The

movements “La Corona,” “Resurrection,” and “Ascention” end with this chord, but many

internal phrasal cadences also culminate in the major chord with added second. While La

Corona is not strictly serial, twelve-tone techniques are clearly visible throughout.

Example 20: Original tone row for La Corona

For this discussion of Talma’s serial usage, an explanation of the terminology is

necessary. References to row order utilized by musicians in the time period in which she

wrote La Corona are O (original), I (inversion), R (retrograde), and IR (inversion

retrograde). Modern music theory replaces the O with a P, which stands for prime row.

Talma begins her label of the row with the number which indicates pitch transposition,

while current theorists place the transposition number as a subscript to the row order. For

example, an inversion of the row which started on the eighth semi-tone would be labeled

8.I in Talma’s writing and I8 in modern analysis. Because Talma’s original materials

make reference to the terminology current in the 1950s, this document will follow suit in

the analysis. The only exception to Talma’s usage has been to replace O with P in order

to avoid the visual confusion which could arise between the letter O and the number 0.

55

Talma presents permutations of the row in both linear and vertical aggregates.

Example 21 is a composite linear row in which the alto and bass lines contain the

complete sequence of notes in order but combine the pitches of two rows. The bass line

is in canon at the octave with the alto line. The alto line begins with note 2 in row 7I, and

switches to row 11I at note 8, finishing with 12 and returning to 1. This allows Talma the

flexibility to change pitch ranges while maintaining a strict row sequence. This linear

sequence, combined with the paired soprano and tenor voices immediately preceding

these measures, are the first full statement of the series in La Corona.


An aggregate row combining all twelve notes in two voices occurs in Example 22.

The pitches of the soprano and alto voices together present the complete sequence of

twelve notes in the row 12P. However, in the way Talma has distributed the notes in the

voices, the phrase sounds imitative with no aural hint of the row.

56


In Example 23, measures from “Nativitie” illustrate Talma’s technique of creating

a three-voice aggregate of the row 6I, by presenting the pitch sequence in order through

the voices using similarly rhythmic entrances. The phrase ends with homorhythmic

punctuations and rocking chords, but the beginning of the phrase introduces the notes of

the row later used in the phrase. By using short rhythmic sections of the row to build into

the phrase, Talma creates musical intensity and momentum that leads into a rather

dramatic text.

Pitch aggregates of the twelve notes of the row appear not only in linear

collections, but also vertically in stacked sections of the row. This allows Talma to vary

the texture when using the row and manipulate the chords produced when different

sections of a row are used by themselves or layered over a static pitch.

Example 24 demonstrates the technique of vertical aggregates as seen in

movement six, “Resurrection.” While the bass voice repeats B3 (note 9 of the row) for

57


three measures, the upper three voices present pitches 10-11-12, 1-2-3-(4) and 5-6-7 in

composite groups above it.101

Shifts of the pitches among the three voices maintain

linear interest in each of the upper voices. In the cadence at measure 17, the four voices

combine the pitches 5-6-7-9 to form a major chord with added second.

Talma uses the concept of vertical aggregates beyond merely presenting the

twelve notes of the row. Example 25 shows the expansion of this technique to create

shifting chords over a static bass line. The bass note F3 remains the same through both

phrases. In the first phrase, the upper three voices exchange notes but maintain a

101

This paper will utilize the pitch terminology of the Acoustical Society of America, in which C4

represents middle C.

58

Example 24: “Resurrection,” (mvt. 6), mm. 15-17

continuous 1-7-12 combination over the bass. When the row changes to 7I, the upper

voices alternate between 1-2-3 and 5-6-7 over the continuous 4 in the bass voice. This

simple serial technique creates the concept of one shimmering chord moving to a rocking

chord while keeping melodic interest in the upper three voices.

The effect of a melodic sequence can be created by serial manipulation as

illustrated in Example 26. The four voice parts sing segment 4-5-6-7-8-9 in row 1I in

unison then repeat the segment in a slower tempo. Talma then changes to row 6I and the

four voice parts again sing 4-5-6-7. While the note pattern remains identical, the actual

pitches are lower, creating a melodic sequence. The effect is somewhat obscured by the

fact that the vocal texture moves from pure parallel octaves to octave displacement. The

final chord of the example takes the linear progression of 4-5-6-7 and builds a vertical

aggregate with those notes.

59


60


Another textural effect resulting from serial manipulation is an imitative texture

created by voices singing identical sequences of pitches taken from a row in multiple

transpositions. Example 27 shows a four-voice imitative entrance from “Resurrection,”

in which each voice sings the pattern 7-2-3-4-5 taken from a row in IR form. However,

since each of the entrances is an IR row built on a different starting pitch, the melodic and

rhythmic contour remains the same but the actual pitches are different. This creates the

effect of strict imitative texture. The final chord is major with an added second.

Comparison has been made previously in this document between Stravinsky and

Talma’s creation of structure through the juxtaposition of sections of differing textures.

Another technique which they shared was the use of ostinato patterns. Stravinsky used

ostinato frequently in his works from the 1920s and 1930s. While his use of these

patterns was mostly rhythmic in nature, melodic ostinatos also appear. Talma used serial

61

Example 27: “Resurrection,” (mvt. 6), mm. 24-29

manipulation to give the impression of melodic ostinato patterns in addition to other

effects such as sequence or imitative entrances. In Example 28 the soprano line moves in

order through the twelve notes of the row 1P two and a half times. While this repetition

is clear in a serial analysis on the page, it is doubtful that the pattern would be audible to

an audience member listening to a performance of La Corona because of the contrasting

nature of the other voice parts.

The fact that Talma carefully crafted her original row to allow for tonal

possibilities is proved by the various combinations in which vertical aggregates of row

segments result in a tonally-centered chord. In a phrase that begins with imitative

entrances, Example 29 (on page 63) illustrates the cadence, combining the segment 9-10-

11-12 in 6IR, which results in a major chord with an added second.

62


63


In Example 30, which occurs only five measures later in the same movement, the

final chord is now an 8-9-10-11 aggregate segment in the row 10P, yet the chord is still

major with an added second. While the soprano line follows the linear contour of the

row, no other voice does.

This brief discussion of selected elements of Talma’s serial techniques makes it

clear that the twelve-tone approach was only one aspect of her compositional style. Even

as she was experimenting with these techniques which were new to her, Talma was

incorporating them into the service of her existing style. Examples from La Corona

show the use of rows to enhance effects of imitation, sequence, and ostinato. Serial

manipulation is also used for textural effect in terms of linear and vertical row segments.

Finally, vertical aggregates of row segments lean toward tonality because of the careful

crafting of the original twelve-tone row.

64


There are large portions of La Corona in which the row is present in small

segments, or referred to obliquely as the source of a few notes used in a phrase. Talma’s

original materials for this work include a page on which she listed all the row forms and

transpositions used in each movement. Even with that information, certain phrases in the

cycle defy strict serial analysis, being freely composed phrases that simply happen to use

several notes in a given row form. The instances in which clear-cut examples of serial

technique serve and expand Talma’s existing style are more musically interesting.

Textual Elements

Text-setting is frankly a challenge for Louise Talma in La Corona. Within the

confines of a neoclassical structure and an overlay of twelve-tone technique, it is difficult

65

to be flexible enough to render individual words or ideas in music. The liturgical nature

and complex linguistic content of the Donne text would add to the difficulty. In spite of

this challenge, Talma does effectively give musical expression to specific words, phrases,

or emotional content. Several examples will illustrate text-setting in instances of text,

concepts, or syllabic stress.

Certain text juxtapositions are so obvious in nature that the musical response can

be somewhat cliché. In Example 31, from the final movement in the cycle, the poetry

compares Jesus to a “Ramme” and a “Lambe.” Faced with the images of a large strong

animal and a smaller, weaker one, Talma sets the powerful “Ramme” in loud, high

parallel octaves and the “Lambe” with soft rocking chords. Closer examination reveals a

few more subtle choices, however. The unison lines in the first phrase present row 9P in

sequence from the mid-point of the row, while the second phrase switches rows to 1P and

a continually shifting 8-9-10-11-12 aggregate chord in a lower tessitura. The rhythm of

the first phrase is also chosen to complement the textual stress of the words “batter’d”

and “heaven.”

In Example 32, the concept of “endlesse rest” is depicted in the upper three voices

moving back and forth and continuously re-voicing a 1-7-12 chord over a static bass line

maintaining the sixth note of the row. In this example, texture provides the text-setting.

Both the words “rest” and “endlesse” are expressed not only in the non-moving bass note

but in the upper chord that is constantly shifting voicings but still always the same.

66


67


Another musical example showcases an individual word not through consistent

texture, but by text repetition. To illustrate the word “long,” the phrase containing it is

repeated and passed around three voices, as seen in Example 33. While the imitative

texture is ubiquitous in La Corona, the repetition of text within the voices and the length

of time between the entrances is less common.

There are instances in which related words are given special musical settings that

are also connected in some way. Talma seldom sets paired words to highlight verbal

connection in a deliberate manner, but in one case she does. Example 34 shows an

excerpt from the final movement of La Corona, in which Donne equates the rising of the

sun to the ascension of Jesus the Son, effectively combining a theological statement and a

strong pun. Talma sets both the words “Sunne” and “Sonne” on a major chord with an

68

added second. The bass sings F3 (note 1 in 3P) on both bracketed chords, while the

upper three voices move from a 2-3-4 row segment to a 5-6-7 segment.


69


In contrast to the straightforward setting of complementary words with identical

types of chords, Example 35 illustrates a rhythmically restless setting in multiple voices.

This passage does not express a specific word or text, but rather the idea of paradox and

confusion.

At times Talma will express the emotion contained in a poetic line rather than the

language itself. For Donne, the concept of salvation and grace was central to his

understanding of theology. Even in the humanistic period of the Renaissance, Donne was

convinced that there were things that man simply could not accomplish for himself. This

acknowledgment of power reserved to God was then a cause for praise, one of the two

central tenets of La Corona. The text “Salvation to all that will is nigh” is celebrated in

Example 36 in a jubilant manner, featuring strong rhythms, marcato articulation, and a

responsorial texture.

70



71

Because of the primarily syllabic text-setting preferred by Talma, some segments

of poetry are illustrated not through musical expression of the meaning of the words, but

rather through a rhythmic setting which reflects syllabic stress and inflection. Example

37 contains nine measures from the opening of “Temple,” in which the rhythm of the

setting follows the contours and stresses of the spoken poetic line. It also reflects the

dramatic nature of the text. The bass voice presents in a single sustained gesture the

musical line shared with the previous movement. From measures 3-6, the rhythm and

articulation, especially the rests and staccato markings, perfectly reflect the intense,

almost breathless, exclamation of the poetry. Measures 7-9 maintain a more dignified

rhythmic pace, in keeping with the nature of the Doctors whom Jesus was teaching in the

temple.

This chapter has not been an exhaustive analysis of La Corona from a textural,

serial, or textual perspective. Rather, it has explored selected aspects of Louise Talma’s

compositional technique as observed in examples taken from the choral cycle. Talma’s

music retained specific neoclassical elements throughout her entire career, and those

elements are present in this work. They are most visible in matters of large and small-

scale structure, clarity of texture, and juxtaposition of different textures.

As the first choral work to be written by Talma which incorporates twelve-tone

techniques, La Corona sometimes is not totally successful in meshing the serial approach

and her existing style. For example, difficult voice leading is sometimes used in the

choral parts in order to create the cadences she wants within the framework of a row.

Talma is certainly not dogmatic about her serial approach. Instead she uses serial

72


73

manipulation to expand her existing compositional palette. Imitative entrances are

created by rows in multiple transpositions; shifts in chordal texture are formed by vertical

aggregates of row segments; and her preferred neotonal cadential chords are created

through the use of a carefully planned prime row.

While a neoclassical structure combined with a serial melodic approach creates

difficulties in text-setting, Talma does effectively give musical expression to specific

words, phrases, or emotional content. Frequently the rhythm and articulation of a phrase

will complement the poetic meter and syllabic stress of the text. This is most effective in

homorhythmic phrases, as an imitative texture can obscure rhythmic clarity.

While the textural, serial, or textual considerations found in La Corona may not

be particularly clear to performers or an audience, it is valuable to perceive the continuity

and integrity of a composer’s style in the work, and the development and integration of

new compositional approaches.

74

CHAPTER V

PERFORMANCE CHALLENGES FOR LA CORONA

The preparation of Louise Talma’s La Corona presents several specific challenges

to a choral ensemble. This chapter illustrates some of the difficulties using examples

taken from the cycle. These examples include potential pitch problems because of the

use of serial techniques; agility of the voices to negotiate changes in register; issues of

balance and tuning resulting from chords spread over a wide range, crossed voices, and

unison writing; and instances when the syllabic stress of the language is negated by the

musical setting.

The use of a twelve-tone row as the basic compositional material of the work

presents inherent difficulties for melodic pitch placement for the singers. Most choral

singers are trained to sight-read within a tonal context, and the challenges of preparing

serial literature require more attention from each individual singer and additional

rehearsal time for the ensemble. In the sometimes wide-ranging presentation of the row

itself or manipulations thereof, not only does the singer have to develop excellent aural

skills and muscle memory in order to accomplish the melodic movement, but he or she

also has to negotiate shifts in vocal registers when the notes cover large parts of the vocal

range. In Example 38, the soprano line moves across a range from E-flat 4 to A-flat 5

within one phrase, descending over an octave in the three notes shown under bracket A.

75

The tenor voice enters in imitation of the soprano line. The alto and bass voices cover

similar large ranges of an eleventh. The alto voice has an octave jump in measure 20,

while the bass moves up a minor seventh from measure 20 to measure 21. These large

intervals are indicated with bracket B.


An additional challenge that can arise from the combination of wide ranges of

each individual voice part are sections where voice parts cross, again creating technical

difficulties for the singer, and tuning and balance issues for the conductor. In the last

seven measures of “Annunciation,” seen in Example 39, the alto voice descends below

the tenor line in measure 54, ascends a major seventh in measure 55 then rises above the

soprano line in measure 57. These voice crossings are indicated by arrows in the

example.

76


Wide ranges of pitch can be challenging not only in terms of melodic shape for an

individual line, but also as the total range envelope for all four voices at cadential chords.

Examples 40 and 41 are two cadences from the final movement “Ascention” that

illustrate the wide span within the range envelope. In the cadence at measure 33, even

though the range from bass to soprano is not extreme, the balancing of this chord might

be difficult given the low tessitura of the bass and alto, and the very high ending pitch of

the tenor.

The final chord of “Ascention,” shown in Example 41, contains the largest range

envelope of the entire cycle, with the notes of the chord beginning at F2 in the bass and

continuing up to A5 in the soprano. The bass descends a seventh and the soprano

ascends a ninth in the final cadence. While the individual notes in the last chord are

certainly within the regular singing ranges of the four voice parts, a four-part chord

77



78

spread over more than three octaves would create a thin sound that is difficult to support

and tune, especially when held for two measures at a slower tempo.

The fifth movement of the cycle, “Crucifying,” contains the greatest amount of

unison writing within the seven movements. While dissonant chords and wide-ranging

cadences can be difficult to tune, unison choral writing is also a challenge to tuning and

balance. The first eleven measures of this movement, as shown in Example 42, begin

with strict unison writing (bracket A), moving into four-part writing in measures 3 and 4

(bracket B). In measure 5 (bracket C), the voices are again in unison, but with some

octave displacement, meaning that voices will be approaching some unison notes from

opposite directions. In measure 10, the soprano, alto, and tenor voice move from three-

part writing into a unison note (bracket D), and the bass joins the texture in measure 11

(bracket E) for a quick, rhythmic, unison statement.

The final performance challenge discussed in this document takes place when the

metrical stress and melodic shape of the musical lines contradict the syllabic stress of the

poetic lines. Example 43 on page 80 illustrates the second phrase of the first movement,

“La Corona.” The word “melancholie” would normally receive verbal stress on the first

and third syllables. However, these stressed syllables are placed on beats two and four,

the weakest beats in the measure. They are also placed on lower pitches than the

unstressed second and fourth syllables. The singer then has the responsibility to place

greater emphasis on the correct syllabic stress in order that the text might be understood.

79


While none of the rehearsal and performance difficulties mentioned above are

unique to Louise Talma’s La Corona, their presence throughout all seven movements of

the work would present challenges to the singers and conductor of any choir who

attempted the work. These difficulties are amplified because of the presence of serial

80


techniques. Individual singers need to negotiate difficult melodic passages, large ranges

within a single line, and frequently awkward voice-leading, especially into cadences.

The choir as a whole would be required to work carefully on tuning and balancing unison

passages, extremely dissonant passages, and chords that stretched across large pitch

spans. The Donne text, already rich and complex, demands detailed attention and nuance

to syllabic stress to be understood fully, especially when it is negated by rhythm or

melodic shape of the line.

81

CHAPTER VI

CONCLUSION

How fortunate we were to have lived in the time of Igor Stravinsky . . . we need to

hold fast to the principles he so grandly exemplified in his work: clarity, order,

precision, control.102

Louise Talma

Louise Talma was a respected American composer of the mid-twentieth century

with a substantial musical oeuvre in a variety of genres including keyboard music,

instrumental works for large and small ensembles, solo vocal and choral works, and

opera. While some of Talma’s other compositions, most notably her piano works, have


publication, her choral and vocal works remain virtually unexplored.

Talma’s style was primarily neoclassical, as learned from Nadia Boulanger and

strongly influenced by Igor Stravinsky. It is evident from Talma’s body of music and

compositional approach, and illustrated in her tribute to Stravinsky quoted above, that the

desire for structure and clarity remained constant and consistent in her musical output,

which cover a time span from 1929 to 1996. Even with the addition of serial techniques

to her music beginning in 1952, her works still retained neoclassical elements, which

were ironically often created through the manipulation of serial effects.

102

“Untitled,” in Perspectives of New Music (Stravinsky Memorial Issue) 9, no. 2 (1971): 87,

quoted in Dorsey, 42.

82

This document examines the seven-movement choral cycle Holy Sonnets: La

Corona, composed by Louise Talma in 1954-55 on spiritual texts of the Renaissance poet

John Donne. This was the first choral work by Talma to incorporate serial techniques,

and the music provides a microcosm of Talma’s style during the 1950s. Therefore, the

analysis of the music focuses on selected examples of texture, serial techniques, and text-

setting. The study of textural effects confirms the continued presence of neoclassical

elements, including large and small-scale structure, imitative entrances, and clarity of

texture. Selected serial techniques complement Talma’s neoclassical approach, while not

being dogmatic in execution. The setting of Donne’s text, with its intriguing metaphors,

strong paradoxes and puns, and flexibility in syllabic stress may provide the biggest

challenge to Talma. While one could argue that a composition focusing on neoclassical

structure, a serial melodic construct, and an inclination toward neotonal harmony would

prove limited in opportunities for musical expression of specific words or ideas, there are

striking examples of text-setting in La Corona.

This document benefits the community of scholars and performers in the areas of

analysis, performance issues, and research. The inclusion of a performance edition of La

Corona, which combines Talma’s detailed markings with the clarity of modern editing,

assists conductors and choral singers to prepare and perform the work. Because of

Talma’s consistent approach to musical structure and texture, stylistic information

gleaned from this examination of La Corona is applicable to her other choral works,

whether they were composed before or after this initial assimilation of serial techniques.

The chapter which outlines specific performance challenges in this work would also be

83

applicable to later choral works written by Talma. This is the first document to explore

Talma’s approach to text-setting, demonstrating a variety of approaches including shifts

in texture, serial manipulation, and the use of rhythm to match syllabic stress.

More information on Talma’s choral works is now available to scholars and

performers, as provided in Appendix D. This includes titles, dates, text sources, and

performing forces required for individual pieces in her choral output. In addition, items

such as manuscripts, preliminary sketches, and correspondence are now becoming

available through the Talma Collection at the Library of Congress to enable or enhance

further study and performance of the choral works of Louise Talma.

84

BIBLIOGRAPHY

Ammer, Christine. Unsung: A History of Women in American Music. Westport, CT:

Greenwood Press, 1980.

Barkin, Elaine. “Louise Talma, ‘The Tolling Bell.’” Perspectives of New Music 10, no. 2

(1972): 142-52.

Block, Adrienne Fried, and Carol Neuls-Bates, eds. Women in American Music: A

Bibliography of Music and Literature. Westport, CT: Greenwood Press, 1979.

Bosler, Watson. Notes for I Hear America Singing [choral music of Schuman,

Rorem, and Talma]. The Gregg Smith Singers. Vox Music Group, CD3X3037.

CD. 1996.

Briscoe, James, ed. Historical Anthology of Music by Women. Bloomington, IN: Indiana

University Press, 1987.

Chambers, A. B. “La Corona: Philosophic, Sacred, and Poetic Uses of Time,” in New

Essays on Donne, ed. Gary Stringer. Salzburg Studies in English Literature:

Elizabethan and Renaissance Studies, ed. James Hogg. Salzburg: Institut für

Englische Sprache und Literatur, 1977.

Cohn, Arthur. “Louise Talma.” Grove Music Online, ed. L. Macy,

http:www.grovemusic.com (accessed May 29, 2008)

Donoghue, Denis. “Introduction” to The Complete Poetry and Selected Prose of John

Donne, ed. Charles Coffin. New York: Random House, Inc., 2001.

Donne, John. Complete Poetry and Major Prose, ed. Merritt Y. Hughes. New York:

Odyssey Press, 1957.

________. The Complete Poetry and Selected Prose of John Donne, ed. Charles

Coffin. New York: Random House, Inc., 2001.

Dorsey, Sarah, and Anna Neal. “Sarah, Anna and Louise – What No Thelma?

Discovering Louise Talma and Her Shorter Piano Works.” Music Reference

Services Quarterly 10, no. 2 (2006): 33-54.

85

Dragone, Luann. “Stylistic Tendencies and Structural Design in the Music of Louise

Talma.” Ph.D. diss., City University of New York, 2003.

Edwards, J. Michele. “North America since 1920,” in Women and Music: A History, ed.

Karin Pendle. Bloomington, IN: Indiana University Press, 1991.

Gardner, Helen. “The Religious Poetry of John Donne,” in John Donne: A Collection of

Critical Essays, ed. Helen Gardner. Englewood Cliffs: Prentice-Hall, Inc., 1962,

http:www.geocities.com/milleldred/donnegardner.html (accessed July 2, 2007)

Goss, Madeleine. Modern Music Makers. Westport, CT: Greenwood Press, 1952.

Guibbory, Achsah, ed. The Cambridge Companion to John Donne. Cambridge:

Cambridge University Press, 2006.

Harris, Carole Jean. “The French Connection: The Neoclassical Influence of Stravinsky,

Through Boulanger, on the Music of Copland, Talma and Piston.” Ph.D. diss.,

State University of New York at Buffalo, 2002.

Haskin, Dayton. “Donne’s Afterlife.” In The Cambridge Companion to John Donne, ed.

Achsah Guibbory. Cambridge: Cambridge University Press, 2006.

Hulley, Margaret. “A Study of the Influences of Text in Morten Lauridsen’s ‘Mid-Winter

Songs.’” D.M.A. diss., Louisiana State University, 1998.

LePage, Jane Weiner. Women Composers, Conductors, and Musicians of the Twentieth

Century: Selected Biographies. Metuchen, NJ: Scarecrow Press, 1980.

Maurer, Margaret. “The Circular Argument of Donne’s ‘La Corona’” in Studies in

English Literature, 1500-1900 22, no. 1 (winter 1982): pp. 51-68.

McClendon-Rose, Helen J. “The Piano Sonatas of Louise Talma: A Stylistic Analysis.”

D.M.A. diss., The University of Southern Mississippi, 1992.

“Metaphysical Poet,” in Encyclopædia Britannica Online, 2008,


Noble, Jeremy. “Igor Stravinsky.” in The New Grove Dictionary of Music and

Musicians, ed. Stanley Sadie, 18:240-265. London: MacMillan Publishers

Limited, 1980.

Oshima-Ryan, Yumiko. “American Eclecticism: Solo Piano Works of Louise Talma.”

D.M.A. diss., University of Cincinnati, 1993.

86

Partridge, A. C. John Donne: Language and Style. London: André Deutsch, 1978.

Pearle, George, and Paul Lansky. “Twelve-Note Composition.” in The New Grove

Dictionary of Music and Musicians, ed. Stanley Sadie, 19:286-296. London:

MacMillan Publishers Limited, 1980.

Pendle, Karin. Women and Music: A History. Bloomington, IN: Indiana University Press,

1991.

Pinka, Patricia Garland. “John Donne,” in Encyclopædia Britannica Online, 2008,


Post, Jonathan. “Donne’s Life: A Sketch,” in The Cambridge Companion to John Donne,

ed. Achsah Guibbory. Cambridge: Cambridge University Press, 2006.

Rayl, David. “The Illinois Wesleyan University Choral Commission Series (1952-95):

Trends in American Choral Music.” Choral Journal 35, no. 9 (April 1995): 17-31.

Stackhouse, Eunice W. “A Survey of the Solo Piano Compositions of Louise Talma,

Composed from 1943 to 1984.” D.M.A. lecture-recital, University of Kansas,

1995.

Talma, Louise. “Carmina Mariana.” New York: Lawson-Gould Music Publishers, Inc.,

1991.

________. “Celebration” [vocal score]. New York: C. F. Peters Corporation, 1978.

________. “Holy Sonnets: La Corona.” In Historical Anthology of Music by Women, ed.

James Briscoe. Bloomington, IN: Indiana University Press, 1987.

________. The Louise Talma Collection, Music Division, Library of Congress.

________. “Music for the Lenten Season [1955]” [Undated Concert Program]. Record

Group 7-3/2/16, Tate Archives and Special Collections, The Ames Library.

Bloomington, IL: Illinois Wesleyan University.

________. “A Wreath of Blessings.” New York: Lawson-Gould Music Publishers, Inc.,

1991.

Teicher, Susan. “Louise Talma: Essentials of Her Style As Seen Through the Piano

Works.” In The Musical Woman: An International Perspective, vol. 1, ed. Judith

Lang Zaimont. Westport, CT: Greenwood Press, 1984.

87

________. “The Solo Works for Piano of Louise Talma.” D.M.A. diss., Peabody Institute

of the Johns Hopkins University, 1983.

Whalen, Robert. The Poetry of Immanence: Sacrament in Donne and Herbert. Toronto:

University of Toronto Press, 2002.

Whittall, Arnold. “Neo-classicism,” in The New Grove Dictionary of Music and

Musicians, 2nd

ed., ed. Stanley Sadie, 17:753-755. London: MacMillan Publishers

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Woman: An International Perspective, vols. 1-3. Westport, CT: Greenwood Press,

1984-1991.

88

APPENDIX A

HOLY SONNETS: LA CORONA OF LOUISE TALMA

Comments on Editorial Choices:

This edition of Louise Talma’s Holy Sonnets: La Corona, as engraved in Sibelius music

software, serves mainly to present the music in a setting that is consistent, clear, and

easier to read than the manuscript. It is not a critical edition. This edition preserves all

original markings of articulation, dynamic, and tempo. Where possible, notation of pitch

and rhythm has been left as in the manuscript. Changes are made only to facilitate

preparation and performance. A keyboard reduction has been provided to aid in hearing

the pitch aggregates represented in the work, but not from which to extract individual

voice parts.

Piano Reduction:

1) The purpose of the piano reduction is to represent simultaneities of sound in the

SATB voices, not to individually represent each voice part.

2) Therefore the piano reduction is in keyboard style (notes in each clef stemmed

together) rather than chorale style (each voice part stemmed separately) for ease

in reading by the pianist.

3) Some notes tied across barlines which show enharmonic equivalents in the voice

parts are left as the original note in the piano reduction. [“La Corona,” m. 10]

Standardizing Engraving Practice:

1) This edition standardizes the treatment of accidentals across barlines. See

example below where the score on the left is taken from Talma’s manuscript,

“Annunciation,” mm. 8-9. The tied note should not receive the accidental, but

rather the newly flatted note in the next measure.

89

2) In asymmetrically-metered bars, rest groupings in rhythm have been provided

instead of the original full-measure rest.

3) Courtesy enharmonic equivalents are unstemmed in a smaller font, enclosed in

parentheses. [“Annunciation,” m. 55]

4) Accidentals in parentheses are editorial, provided to confirm a cross-relation with

another voice. [“Annunciation,” m. 55]

5) Editorial accidentals (in parentheses) are also used to clarify half-step movement

under a slur, that might otherwise be confused as a tie [“Annunciation,” mm. 19-

20, alto]

6) Talma often notated enharmonic equivalents under ties to make a following

interval easier to read. These tied enharmonics are as in the original, except when

the tied note is then repeated on a separate syllable. Then the enharmonic is

shifted to the repeated note rather than the tied note. [“Nativitie,” m. 4, bass]

Clarity of Form:

1) The seven movements of the cycle have been paginated as one work, rather than

seven separate works, with voice parts indicated on the first movement only.

2) The name of composer and author are given once for the entire work, instead of

on each of the seven movements.

90

Commissioned by the Illinois Wesleyan University Collegiate Choirand dedicated to Donald Aird and Lloyd Pfautsch

Louise Talma

John Donne

for SATB Choir

Holy Sonnets

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6

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11

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August 11-22, 1954Peterborough, N.H. 3'5"

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12

102

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Andante q. = 60

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127

55 Allargando

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38

128

APPENDIX B

JOHN DONNE – “HOLY SONNETS: LA CORONA”

HOLY SONNETS

I

La Corona

Deigne at my hands this crown of prayer and praise,

Weav’d in my low devout melancholie,

Thou which of good, hast, yea art treasury,

All changing unchang’d Antient of dayes;

But doe not, with a vile crowne of fraile bayes,

Reward my muses white sincerity,

But what thy thorny crowne gain’d, that give mee,

A crowne of Glory, which doth flower alwayes;

The ends crowne our workes, but thou crown’st our ends,

For, at our end begins our endlesse rest;

The first last end, now zealously possest,

With a strong sober thirst, my soule attends.

‘Tis time that heart and voice be lifted high,

Salvation to all that will is nigh.

II

Annunciation

Salvation to all that will is nigh;

That All, which alwayes is All every where,

Which cannot sinne, and yet all sinnes must beare,

Which cannot die, yet cannot chuse but die,

Loe, faithfull Virgin, yeelds himselfe to lye

In prison, in thy wombe; and though he there

Can take no sinne, nor thou give, yet he’will weare

Taken from thence, flesh, which deaths force may trie.

Ere by the spheares time was created, thou

Wast in his minde, who is thy Sonne, and Brother;

Whom thou conceiv’st, conceiv’d; yea thou art now

Thy Makers maker, and thy Fathers mother;

Thou’hast light in darke; and shutst in little roome,

Immensity cloystered in thy deare wombe.

129

III

Nativitie

Immensity cloystered in thy deare wombe,

Now leaves his welbelov’d imprisonment,

There he hath made himselfe to his intent

Weake enough, now into our world to come;

But Oh, for thee, for him, hath th’Inne no roome?

Yet lay him in this stall, and from the Orient,

Starres, and wisemen will travel to prevent

Th’effect of Herods jealous generall doome.

Seest thou, my Soule, with thy faiths eyes, how he

Which fils all place, yet none holds him, doth lye?

Was not his pity towards thee wondrous high,

That would have need to be pittied by thee?

Kisse him, and with him into Egypt goe,

With his kinde mother, who partakes thy woe.

IV

Temple

With his kinde mother, who partakes thy woe,

Joseph turne backe; see where your child doth sit,

Blowing, yea blowing out those sparks of wit,

Which himselfe on the Doctors did bestow;

The Word but lately could not speake, and loe

It sodenly speakes wonders, whence comes it,

That all which was, and all which should be writ,

A shallow seeming child, should deeply know?

His Godhead was not soule to his manhood,

Nor had time mellowed him to this ripenesse,

But as for one which hath a long taske, ‘tis good,

With the Sunne to beginne his businesse

He in his ages morning thus began

By miracles exceeding power of man.

130

V

Crucifying

By miracles exceeding power of man,

Hee faith in some, envie in some begat,

For, what weake spirits admire, ambitious, hate;

In both affections many to him ran,

But Oh! The worst are most, they will and can,

Alas, and do, unto the immaculate,

Whose creature fate is, now prescribe a Fate,

Measuring selfe-lifes infinity to’a span,

Nay to an inch. Loe, where condemned hee

Beares his owne crosse, with paine, yet by and by

When it beares him, he must beare more and die.

Now thou art lifted up, draw mee to thee,

And at thy death giving such liberall dole,

Moyst, with one drop of thy blood, my dry soule.

VI

Resurrection

Moyst with one drop of thy blood, my dry soule

Shall (though she now be in extreme degree

Too stony hard, and yet too fleshly,) bee

Freed by that drop, from being starv’d, hard, or foule,

And life, by this death abled, shall controule

Death, whom thy death slue; nor shall to mee

Feare of first or last death, bring miserie,

If in thy little booke my name thou enroule,

Flesh in that long sleep is not putrified,

But made that there, of which, and for which ‘twas;

Nor can by other meanes be glorified.

May then sinnes sleep, and deaths soone from me passe,

That wak’t from both, I againe risen may

Salute the last, and everlasting day.

131

VII

Ascention

Salute the last and everlasting day,

Joy at the uprising of this Sunne, and Sonne,

Yee whose just teares, or tribulation

Have purely washt, or burnt your drossie clay;

Behold the Highest, parting hence away,

Lightens the darke clouds, which hee treads upon,

Nor doth hee by ascending, show alone,

But first hee, and hee first enters the way.

O strong Ramme, which hast batter’d heaven for mee,

Mild Lambe, which with thy blood, hast mark’d the path;

Bright Torch, which shin’st, that I the way may see,

Oh, with thy owne blood quench thy owne just wrath,

And if thy holy Spirit, my Muse did raise,

Deigne at my hands this crown of prayer and praise.

John Donne, The Complete Poetry and Selected Prose of John Donne, ed. Charles Coffin.

(New York: Modern Library, a division of Random House, 2001), pp. 242-245.

132

APPENDIX C

TONE ROW MATERIALS FROM

THE TALMA COLLECTION AT THE LIBRARY OF CONGRESS

This appendix includes the following:

1. A reproduction of the two original tone row sheets derived by Louise Talma for

La Corona, showing the original row, inversion, retrograde, and retrograde

inversion in each of the twelve pitch transpositions

2. The list of rows used in each of the seven movements of La Corona, as written

out by Talma.

a. In Talma’s notation of rows in the original form (O), a period is placed

between the row number and the “O” to avoid confusion between the letter

“O” and the number “0”. This notation has been maintained in this

reproduction.

b. The original chart showing the number of times each row form and each

transposition were used in La Corona contained a hash mark for each

occurrence. This reproduction provides the total number for each row and

transposition in Arabic numerals.

133

Part 1: Reproduction of Original Tone Row Sheets

134

135

Part 2: List of Rows Used in Each Movement of La Corona

La Corona

5I 3I 7I 11I 6I 5IR 7I 11I 10R 2I 2.O 7.O 7I 6IR 4I 10.O

Annunciation

11.O 10.O 11.O 10.O 10I 10IR 1.O 11I 11IR 11.O 1.O 11I 4IR 4I 2.O

1.O 1R 10I 4.O 4I 11I 5I 5IR 7IR 1.O

Nativitie

6IR 12.O 7.O 7I 6.O 7.O 6I 6IR 7.O 6IR

Temple

10.O 7I 11.O 6I 3.O 8.O 1.O 7I 6IR 4.O 4I 4R 4IR 4R 10.O

Crucifying

3.O 1.O 3R 8.O 1I 6I 6IR 6R 11R 2.O 5.O 5I 10.O

Resurrection

9I 8I 7IR 8I 3.O 7I 4IR 11IR 6IR 1IR 9I 3.O 4I 5.O 4I 9I

Ascention

3.O 3I 3.O 11.O 5I 6IR 9.O 1.O 1I 5I 3I

Pitch

Transposition

O

I

R

IR

1 7 2 1 1

2 3 1 - -

3 6 3 1 -

4 2 6 2 3

5 2 5 - 2

6 1 4 1 8

7 4 7 - 2

8 2 2 - -

9 1 3 - -

10 6 2 - 1

11 5 5 1 2

12 1 - - -

136

APPENDIX D

CHORAL WORKS OF LOUISE TALMA

This appendix includes information on the choral compositions of Louise Talma. The

information is arranged in two parts. Part 1 contains data on the compositions

themselves, while Part 2 provides publication information and the location of manuscript

materials.

1. Part 1 is a table of Talma’s choral works that includes:

a. Title of work

b. Titles of individual movements (if applicable)

c. Date of composition

d. Performance forces

e. Source of text

f. Commission or dedication (if applicable)

2. Part 2 is a table that lists Talma’s choral works in order by date of composition,

and provides the following publication and manuscript information:

a. Title of work

b. Publisher and publication date (if applicable)

c. Whether or not the work is still published

d. Location of manuscript material

The table in Part 2 also lists discrepancies between the New Grove Works List for Louise

Talma, and the Finding Aid for the Louise Talma Collection at the Library of Congress.

The key for this information is below.

Key:

NG = Arthur Cohn, “Louise Talma [Works List],” Grove Music Online, ed. L. Macy [accessed

May 29, 2008]

LC = The Talma Collection at the Library of Congress. While the Finding Aid created by Sarah

Dorsey in 2006 contains information on the majority of Talma’s works, eight boxes of Talma

material were recently found in the Lukas Foss collection, and have not yet been examined or

included in the Finding Aid.

137

Pa

rt

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oral

Work

s o

f L

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ise T

alm

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ov

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f

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om

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e A

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on

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Ger

ald

Rey

no

lds

La

Bel

le D

am

e S

ans

Mer

ci

1

92

9-1

93

0

SS

AA

Jo

hn

Kea

ts

In P

rin

cip

io E

rat

Ver

bu

m

1

93

0

Mix

ed c

ho

rus,

org

an

Go

spel

of

Joh

n

Do

min

ica d

eci

ma

qu

inta

po

st P

ente

cost

en

1

93

8

T,

male

ch

oru

s,

orc

hes

tra

Lati

n l

itu

rgic

al

Av

e M

aria

Reg

ina

Co

eli

Car

min

a M

aria

na

Sal

ve

Reg

ina

19

43

S

S, p

ian

o

Lati

n l

itu

rgic

al

Th

e D

ivin

e F

lam

e

19

46

-19

48

M

S,

Bar

, m

ixed

cho

rus,

org

an

D

edic

ate

d t

o R

ob

ert

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aw a

nd

th

e

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lleg

iate

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ora

le

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e L

ead

en E

cho

an

d t

he

Go

lden

Ech

o

1

95

0-1

95

1

S, d

ou

ble

mix

ed

cho

rus,

pia

no

Ger

ard

Man

ley

Ho

pk

ins

any

on

e li

ved

in

a p

rett

y h

ow

tow

n

lov

e is

mo

re t

hic

ker

th

an f

org

et

Let’

s T

ou

ch t

he

Sk

y

let’

s to

uch

th

e sk

y

19

52

M

ixed

ch

oru

s, f

l,

ob

, b

sn

e.e.

cum

min

gs

138

Wo

rk

M

ov

em

ent

Da

te o

f

Co

mp

osi

tio

n

Perf

orm

an

ce

Fo

rce

s T

ext

So

urc

e C

om

mis

sio

n o

r

Ded

ica

tio

n

La

Co

ron

a

An

nu

nci

ati

on

Nat

ivit

ie

Tem

ple

Cru

cif

yin

g

Res

urr

ecti

on

La

Co

ron

a

Asc

enti

on

19

54

-19

55

M

ixed

ch

oru

s, a

cap

pell

a

Joh

n D

on

ne

Co

mm

issi

on

ed b

y

Illi

no

is W

esle

yan

Un

iver

sity

Co

lleg

iate

Ch

oir

A T

ime t

o R

emem

ber

19

66

-19

67

M

ixed

ch

oru

s,

orc

hes

tra

Bib

le, Jo

hn

F.

Ken

ned

y, A

rth

ur

Sch

lesi

ng

er

Ag

nu

s D

ei

Pra

yer

of

St.

Fra

nci

s o

f A

ssis

si

Pra

y f

or

the

Pea

ce o

f Je

rusa

lem

Pea

ce

Vo

ices

of

Pea

ce

Sh

alo

m!

Pax

et

Bo

nu

m

19

73

M

ixed

ch

oru

s,

stri

ng

qu

arte

t

Bib

le, G

.M.

Ho

pk

ins,

Lit

urg

y,

Dan

te,

Bo

ok

of

Co

mm

on

Pra

yer

Cele

bra

tio

n

1

97

7

SS

A, sm

all

orc

hes

tra

C

om

mis

sio

ned

by

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ma A

lph

a Io

ta

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lm 8

4

1

97

8

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ed c

ho

rus,

a

cap

pell

a

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ok

of

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lms

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urc

h o

f C

orp

us

Ch

rist

i –

NY

C

Mas

s fo

r th

e S

un

day

s o

f

the

Yea

r

1

98

4

L

itu

rgic

al

Mas

s in

En

gli

sh

1

98

4

Mix

ed c

ho

rus,

a

cap

pell

a

Lit

urg

ical

139

Wo

rk

M

ov

em

ent

Da

te o

f

Co

mp

osi

tio

n

Perf

orm

an

ce

Fo

rce

s T

ext

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urc

e C

om

mis

sio

n o

r

Ded

ica

tio

n

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ou

se B

less

ing

Iris

h B

less

ing

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gu

stin

e’s

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rd

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lass

e o

f B

less

ing

s

A W

reat

h o

f B

less

ing

s

Ch

este

r C

ath

edra

l B

less

ing

19

85

M

ixed

ch

oru

s, a

cap

pell

a

Geo

rge

Her

ber

t,

Lu

cy L

arco

m,

Wil

liam

Car

twri

gh

t, 2

ano

ny

mo

us

tex

ts

Co

mm

issi

on

ed b

y

the

Gre

gg

Sm

ith

Sin

ger

s

Giv

e T

han

ks

and

Pra

ise

1

98

9

An

tip

ho

nal

do

ub

le c

ho

rus,

pia

no

Bib

le, W

illi

am

Co

wp

er

Pra

ise

of

a V

irtu

ou

s

Wo

man

1

99

0

SA

, p

ian

o

Bo

ok

of

Pro

ver

bs

Co

mm

issi

on

ed b

y

Vir

gin

ia D

avid

son

and

Th

e T

reb

le

Sin

ger

s

Psa

lm C

XV

19

92

M

ixed

ch

oru

s, a

cap

pell

a

Bo

ok

of

Psa

lms

Psa

lm X

LII

No

dat

e o

n

man

usc

rip

t

Mix

ed c

ho

rus,

pia

no

Bo

ok

of

Psa

lms

Th

e S

pir

it o

f th

e L

ord

No

dat

e o

n

man

usc

rip

t

No

t g

iven

140

Pa

rt

2 –

Ch

oral

Work

s o

f L

ou

ise T

alm

a:

Pu

bli

ca

tion

an

d M

an

usc

rip

t D

ata

Wo

rk

P

ub

lica

tio

n

Info

rm

ati

on

Sta

tus

of

Pu

bli

cati

on

Lo

cati

on

of

Ma

nu

scri

pt

Oth

er I

nfo

rm

ati

on

Th

ree M

adri

gal

s J.

Fis

cher

& B

ro.,

19

30

Ou

t o

f P

rin

t L

C

Ho

log

rap

h o

f p

ian

o-v

oca

l sc

ore

at

LC

La

Bel

le D

am

e S

ans

Mer

ci

U

np

ub

lish

ed

? In

NG

wo

rks

list

; h

olo

gra

ph

no

t fo

un

d y

et a

t

LC

In P

rin

cip

io E

rat

Ver

bu

m

U

np

ub

lish

ed

? In

NG

wo

rks

list

; h

olo

gra

ph

no

t fo

un

d y

et a

t

LC

Do

min

ica d

eci

ma

qu

inta

po

st

Pen

teco

sten

U

np

ub

lish

ed

LC

N

ot

in N

G w

ork

s li

st

Car

min

a M

aria

na

Law

son

-Go

uld

, 1

99

1

Av

aila

ble

L

C

Ori

gin

al

sco

re f

or

two

so

lo v

oic

es a

nd

pia

no

Th

e D

ivin

e F

lam

e

Un

pu

bli

shed

L

C

Ora

tori

o

Th

e L

ead

en E

cho

an

d t

he

Go

lden

Ech

o

U

np

ub

lish

ed

LC

Let’

s T

ou

ch t

he

Sk

y

Hin

shaw

Mu

sic,

19

77

Av

aila

ble

L

C

La

Co

ron

a

Un

pu

bli

shed

L

C

A T

ime t

o R

emem

ber

Un

pu

bli

shed

L

C

Vo

ices

of

Pea

ce

U

np

ub

lish

ed

LC

Cele

bra

tio

n

Ed

itio

n P

eter

s, 1

97

8

Av

aila

ble

L

C

Ed

itio

n i

s fa

csim

ile

pu

bli

cati

on

of

cho

ral-

pia

no

sco

re;

orc

hest

ra p

arts

fo

r re

nt

141

Key

:

NG

= A

rth

ur

Co

hn

, “L

ou

ise

Talm

a [W

ork

s L

ist]

,” G

ro

ve M

usic

On

lin

e,

ed.

L.

Mac

y [

acce

ssed

May

29

, 2

00

8]

LC

= T

he T

alm

a C

oll

ecti

on

at

the

Lib

rary

of

Co

ng

ress

. W

hil

e th

e F

ind

ing

Aid

cre

ate

d b

y S

arah

Do

rsey

in

20

06

co

nta

ins

info

rmat

ion

on

th

e m

ajo

rity

of

Talm

a’s

wo

rks,

eig

ht

bo

xes

of

Talm

a m

ater

ial

wer

e re

cen

tly

fo

un

d i

n t

he L

uk

as

Fo

ss c

oll

ecti

on

, an

d h

ave n

ot

yet

bee

n e

xam

ined

or

inclu

ded

in

th

e

Fin

din

g A

id.

Wo

rk

P

ub

lica

tio

n

Info

rm

ati

on

Sta

tus

of

Pu

bli

cati

on

Lo

cati

on

of

Ma

nu

scri

pt

Oth

er I

nfo

rm

ati

on

Psa

lm 8

4

U

np

ub

lish

ed

LC

Mas

s fo

r th

e S

un

day

s o

f th

e Y

ear

Un

pu

bli

shed

?

In N

G w

ork

s li

st;

ho

log

rap

h n

ot

fou

nd

yet

at L

C

Mas

s in

En

gli

sh

U

np

ub

lish

ed

? In

NG

wo

rks

list

; h

olo

gra

ph

no

t fo

un

d

yet

at

LC

; sa

me

wo

rk a

s M

ass

for

the

Su

nd

ays

of

the

Yea

r?

A W

reat

h o

f B

less

ing

s L

awso

n-G

ou

ld,

19

91

O

ut

of

Pri

nt

? H

olo

gra

ph

no

t fo

un

d y

et

at L

C

Giv

e T

han

ks

and

Pra

ise

U

np

ub

lish

ed

LC

P

ho

toco

py

of

ho

log

rap

h a

t L

C

In P

rais

e o

f a

Vir

tuo

us

Wo

man

L

awso

n-G

ou

ld

Av

aila

ble

L

C

Pu

bli

shed

sco

re a

t L

C

Psa

lm C

XV

Un

pu

bli

shed

?

In N

G w

ork

s li

st;

ho

log

rap

h n

ot

fou

nd

yet

at

LC

Psa

lm X

LII

Un

pu

bli

shed

L

C

No

t in

NG

wo

rks

list

Th

e S

pir

it o

f th

e L

ord

Un

pu

bli

shed

L

C

No

in

form

ati

on

on

dat

e/sc

ori

ng

in

Fin

din

g A

id

142

APPENDIX E

PERMISSION LETTER – THE MACDOWELL COLONY

Documents

Holy Sonnets: La Corona of Louise Talma: Selected Elements of